On the other side there is Adria Arjonaperfect femme fatale who enters this film as Jane Greer enter the room The chains of guilt (the film by Jacques Tourneur from 1947, all black and white detectives, cigarettes and raincoats), combining irresistible charm with superior intelligence. There will obviously be problems, rivals who might discover that the agent is having an affair with the suspect and a series of misunderstandings worthy of a great Viennese comedy. Hit Man it’s the rare film that takes a classic structure, the basics of great comedy, and makes it unpredictable, new and captivating.
Here it is never clear who is the prey and who is the predator. We are led to think (as always) that the man is conquering the woman, pretending to be something he is not, but many times it seems the opposite. Perhaps this is the true nature of the two, perhaps it is in the rest of their lives that they acted and perhaps, to a lesser extent, we all play a part to win someone over and in doing so we change. Below the first, hilarious, reading level Hit Man it is also a film that talks about how one acts in everyday life, which shows the public how the identification of a professional actor works, what consequences it has and through which techniques one becomes someone else. Ultimately, how doing something pretend has real consequences and in the end even becomes reality (for those who have seen it, it’s basically the same thing as A dark peering). And when the two protagonists have to fake a conversation, improvising it so as not to be caught by those who are listening to them, in one of the funniest scenes, we are even seeing how a film is directed, that is, we are seeing two people acting and staging something that is not really happening, for the benefit of a listening audience. Cinema is not something remote, it is our life.
