"I've been waiting my whole life"

Rating: 7/10 (20 March 2008)

I know that it's a blatantly-absurd contradiction, but I've always regarded Steven Spielberg, despite his incredible critical and commercial success, as a monumentally underestimated director. Many critics tend to regard him as something of a lesser filmmaker, adequate for immaterial mass entertainment, but relatively useless for anything that comes even close to approaching true art. As you no doubt have guessed, I take the completely opposite viewpoint, regarding him as one of the finest directors that Hollywood has to offer; one who, despite his occasional preference towards sentimentality, knows precisely what he wants in a movie, and constructs it in a way that is both technically admirable and unashamedly entertaining. 'The Terminal (2004),' likewise, is one of the Spielberg's most under-appreciated outings, an intensely-enjoyable, and occasionally whimsical, lighthearted comedy that is nonetheless able to pack an emotional punch when required. Filled with a likable cast of characters, and an atypical romantic hero in Tom Hanks' Krakozhian traveller, this is the sort of film that you can simply sit to watch and allow your daily problems to dissipate into the open air.
If you were to choose any A-list Hollywood actor to portray a Russian tourist with little command in English, then I predict that Tom Hanks, despite his talent and multiple Oscars, would appear near the bottom of your list of potential candidates. However, not only does the character of Viktor Navorski work, but his personality is so intensely likable that he's one of Hanks' most entertaining creations. Hopelessly lost in an immense airport lounge, with no idea why he's even being detained there, Viktor wanders aimlessly throughout the hustle-and-bustle of the arriving and departing passengers, necessarily developing a haphazard, ad hoc existence for himself, making both friends and enemies along the way. Though Viktor's poor knowledge of English paints the deceptive impression of a dim mind, as his linguistic skills slowly develop, a vibrant personality begins to shine through his initially comical exterior, and a man of admirable humility and sincerity reveals himself. Catherine Zeta-Jones lights up the screen as Amelia Warren, a beautiful flight attendant who falls for Viktor, despite her obsessive compulsion towards wealthy married men who hold no future for her.
The opening act of 'The Terminal' does an impressive job of accentuating the difficulties that arise when a foreign traveller becomes "lost in translation." Viktor's initial meeting with airport manager Frank Dixon (Stanley Tucci) is a hopelessly impossible conversation in which no meaningful understanding is reached by either party. When Viktor finally realises that a revolution has unfolded in his home country, his anguish at not being able to understand the full details is tragic and heartbreaking, especially when his cries for assistance fall on deaf ears. An incredible backwards crane shot, zooming out from Viktor's frantic form to reveal the vast expanse of JFK airport, is perhaps a visual reference to a similar shot in Fred Zinneman's 'High Noon (1952).' Whereas the latter demonstrates the haunting solidarity of Gary Cooper's character, Spielberg's shot shows Viktor equally alone and abandoned, surrounded by crowds of self-interested travellers who might as well be non-existent. Though Spielberg occasionally veers towards sentimentality, 'The Terminal' is an entertaining and thoughtful comedy/drama; sometimes the simple stories are the ones we find most refreshing.