Hindi The Tourist

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a5c7b9f00b Revolves around Frank, an American tourist visiting Italy to mend a broken heart. Elise is an extraordinary woman who deliberately crosses his path. A woman sitting in a Parisian café reads a letter telling her to take the train to Venice, pick a man of the sender&#39;s height and build, and chat him up. She&#39;s being watched: Scotland Yard and a mobster with a crew of Russian thugs are looking for a man she knows. On the train, she talks to an American, Frank, suggests they have dinner, and, once in Venice, invites him to her hotel. The bait is set: the Russians think Frank is the man they want: Alexander Pearce, who stole billions from the mobster. Scotland Yard realizes Frank is a just a tourist, but by now he&#39;s in danger, smitten by the mystery woman, and in their way. Can the Yard keep Frank from death and still catch Pearce? The only reason that I saw this film was because a friend of mine forgot his ID at home and couldn&#39;t go see the movie we wanted to see. Forced to pick another film, we decided on &quot;The Tourist.&quot; How bad could this Jolie and Depp film be? Both have been great before. Depp was good in that first pirate movie way back when, but the sequels were just annoying and I haven&#39;t been impressed by anything he&#39;s done since. If Jolie really took this movie because it would be a &quot;&#39;quick shoot&#39; in Venice&quot; (See trivia), she really needs to sort out her priorities as a professional actress.<br/><br/>Nothing in this movie was realistic. None of it was believable. The plot was your typical action movie: Someone&#39;s money gets stolen, they want it back, someone will get killed if it isn&#39;t returned, there&#39;s some romance, good guy wins. The &quot;twist&quot; isn&#39;t even a real twist; they hint at it earlier in the movie and it continues to be something you consider, so when you realize it&#39;s true you feel like you already knew. How is that a twist? It&#39;s not.<br/><br/>I&#39;m thoroughly convinced that the only reason people will see this film is because of Depp and Jolie. Neither gave a good or even convincing performance. Both were flat. If the entire world weren&#39;t in love with the two thespians, this movie would have flopped. I suppose it was just lucky that everyone thinks Angelina Jolie is a goddess.<br/><br/>Don&#39;t go see this film. It was a waste of a ticket fee. I did not like this movie. I don&#39;t even know why I&#39;m giving it a 3 when it deserves less. Maybe it&#39;s because I like Angelina Jolie and Johnny Depp. They were the only reasons I gave the time of the day for this movie, actually! I went onto this movie, knowing nothing at all, except for the fact that two huge stars would be playing the leads, and what did I come out with? Nothing. This is sure to be a forgettable movie. Such a shame because I was expecting a lot from two big stars like these two.<br/><br/>This movie proves that a movie won&#39;t work with just the actors. You&#39;ve got to have a decent plot first! Gosh. I&#39;m so disappointed with this. Such shame. And the ending was horrible. Horrible, horrible, horrible. Not everything needs to have a twist ending, Hollywood! And when done to a below-average movie, it just makes things worse.<br/><br/>On screen, Angelina Jolie and Johnny Depp had no chemistry. They just seemed like partners, working together. So when Elise said that she loved Frank, I did not believe it for a second. They didn&#39;t even get to bond at all! They didn&#39;t have enough interaction. I guess that&#39;s not their fault.<br/><br/>This movie reminded me of Knight and Day. Only this movie sucked more. Sorry. Like a beautifully tailored suit that starts to smell funny after a few minutes, this sumptuous but stultifying lark sets up a quasi-Hitchcockian intrigue between two strangers abroad, but smothers any thrills or sparks in a haze of self-regard. While on the train from Paris to Venice, American tourist Frank Tupelo (<a href="/name/nm0000136/">Johnny Depp</a>) shares a seat with Elise Clifton-Ward (<a href="/name/nm0001401/">Angelina Jolie</a>), a beautiful but mysterious British woman. They strike up a conversation, have dinner together, and Elise invites Frank to share her hotel room. However, Frank is actually being set up. Elise has been ordered by her ex-lover, Alexander Pearce, who stole 2.3 billion dollars from British gangster Reginald Shaw (<a href="/name/nm0000925/">Steven Berkoff</a>), to board that train, pick out a man who resembles him, and make it look like this man is Pearce in order to throw off Shaw and his Russian thugs, who believe Frank is really Pearce, as well as throwing off Scotland Yard, who knows Frank is just an innocent decoy but also wants Pearce for tax evasion. The Tourist is a remake of <a href="/title/tt0411118/">Anthony Zimmer (2005)</a>, a 2005 French film written and directed by French film-maker Jérôme Salle. The screenplay for The Tourist was co-written by American screenwriter Christopher McQuarrie, English screenwriter Julian Fellowes, and German filmmaker Florian Henckel von Donnersmarck (who also directed). Agents from Scotland Yard have been following Elise, hoping that she would lead them to Pearce. Having no photo of him but knowing that Pearce has recently undergone facial reconstruction surgery, they assume Frank is Pearce and photograph him having dinner with Elise. Yard Inspector John Acheson (<a href="/name/nm0079273/">Paul Bettany</a>) receives the photo and does a face recognition, discovering that Frank is indeed Frank Tupelo, a simple math teacher from Wisconsin. However, an informer within the Yard notices the photo, concludes that it&#39;s a true photo of Pearce, and forwards it directly to Shaw. Shaw then turns around his private jet and heads to Venice. While Acheson holds Frank handcuffed in their surveillance boat, Elise goes to the Fondamenta San Giocomo to keep her rendezvous with Pearce, not knowing that she is being followed by Shaw and his thugs. They take her captive and threaten to kill her unless she shows them where the safe is hidden. Although both Acheson and Frank can see everything that it going on via audiovisual link, Acheson refuses to heed Frank&#39;s pleas to get Elise out of there, because he is certain that, if he holds out long enough, Pearce will show up. Elise eventually points out that the safe is hidden behind a wall medallion of the Roman god Janus but she doesn&#39;t know the combination to open the safe. Once again Shaw threatens to kill her, and once again Acheson refuses to intervene. Suddenly, Acheson detects movement in the courtyard and sees who he thinks is Pearce attempting to rescue Elise. It turns out to be Frank, having picked his way out of the handcuffs and fled the boat. Claiming to be Pearce, Frank tells Shaw that he will open the safe if Elise is first released, but Shaw refuses to release Elise until Frank opens the safe. As Frank walks toward the safe, Elise mouths, &quot;I love you.&quot; Back in the surveillance boat, Chief Inspector Jones (<a href="/name/nm0001096/">Timothy Dalton</a>) suddenly boards and overrides Acheson&#39;s command, giving the police snipers the order to shoot Shaw. Shots ring out, and Shaw and his three thugs lay dead on the floor. Meanwhile, the police report that they have captured Pearce, but he is revealed to be just a tourist who was being paid by someone he didn&#39;t know to be at certain places at certain times. With everyone distracted by the tourist, Frank opens the safe, leaving behind a check for £744 milion, signed by A. Pearce. In the final scene, Frank and Elise sail away together. Elise says to Frank, &quot;Twenty million dollars&#39; worth of plastic surgery, and that&#39;s the face you choose?&quot; &quot;Do you not like it?&quot; Frank asks. &quot;It&#39;ll do,&quot; she replies. It&#39;s revealed that Elise was sent to Russia as an undercover agent to find Pearce but that she &quot;went dark&quot;. Acheson believes that she fell in love with Pearce and couldn&#39;t decide whether she was with him or with the Yard.This time she chooses to be &quot;with&quot; him. The song is &quot;Starlight&quot; by Muse. &quot;Map of the Problematique&quot; by Muse from their 2006 album Black Holes and Revelations.