Currently studying Architecture at RMIT Uni, the author enjoys travel and coffee. Occasionally he is productive and blogs. Single Blog Post
The Quiet American - A Pithy Critique/Analysis
We’re lucky enough to do all sorts of interesting things when studying Architecture. For design studio at the moment, we’re doing “Culture”, a series of tasks organised by Peter Corrigan. So, in roughly 500 words, a (far too pithy) critique/analysis of The Quiet American:
Set during final years of the French occupation of Vietnam, and the increasing combat successes of Ho Chi Minh, the Quiet American (based on the seminal Graham Greene novel of the same name) stars Michael Caine and Brendon Fraser.
Metaphor is pervasive throughout the film. Fowler is England: old, weary, and with the cynical experience of gaining, running then losing an empire. Diametrically opposite is Pyle, the young America: naive, moralistic, paternalistic, innocent; but also possessing increasingly dangerous powers. The political tensions are mirrored in the sexual tension between the old and the young man as they vie for the affections of the elegant, gorgeous and equally pragmatic Vietnamese lady, Phuong.
The film is far more critical of America’s actions than the occupying French, who are shown as demoralised and losing their grip on the country. Pyle is depicted as increasingly out of touch, wrapped up in the ideas of “York Harding” and paternalistically believing that the people of Vietnam need, want and will ultimately accept democracy (via the “third-force” — America). Indeed this interventionist attitude to political relations has brought America to war several times last 50 years, most recently in Iraq.
Similarly, as Fowler struggles with the journalistic ethic of being completely detached, this again is a metaphor for the struggle of policy and actions in international politics. Finally submitting, Fowler utters: “this is war.”
Phuong is somewhat characteristic of a young lady in a society where most do not have the financial means nor independence to marry for love. She is worldly and able to use her femine wiles pragmatically in order to assure and secure not just her own future, but also that of her family. An analogy could be drawn that Vietnam, with it’s separate and warring factions are similar to that of Phuong’s allegiences to her family, Fowler, and Pyle. Phuong may chose to be the lover of Fowler, but ultimately her family (perhaps a veiled analogy to the grass-roots Vietnamese Communist movement) is more imporant as she knows that Fowler may never be able to fulful her desires for marriage and a stable future.
Stylistically, the film attempts to contrast the foreign zones in Saigon with the mass of humanity in the other areas. This is relatively successful, as there is a definite pathos as the “European” calm is shattered by two simulataneous bomings, as well as Pyle’s final minutes - spent running down twisting alleys. However, the reality is that almost all South-east Asian cities are actually far more crowded, dirty, chaotic and interesting than the Saigon depicted by the film. In the film, the actors are able to successfully navigate the footpath, whereas it is actually the norm to walk on the shoulders of roads (the footpath being cracked, uneven and covered with a maze of bicycles and food stalls, and the road offering relative ease of pedestrian movement).
The film makes for enjoyable viewing, with a sharp political commentary veiled behind a social drama. The Quiet American continues to be relevant today.