"Hit Man": A Loquacious Director Tackles the Assassin Genre

Director Richard Linklater, known for "The Before Trilogy" and "Boyhood" (2014), showcases his impressive creativity once again in his latest film, "Hit Man" (2023). The idea of a "talky" director handling a killer-themed story raises curiosity—has he truly brought something new to the table? The plot follows a college professor who teaches psychology and philosophy and finds his mundane life spiraling out of control when he poses as a hitman to help the police. This unexpected twist leads to a profound transformation, turning him into a completely different person. The film's blend of comedic elements and absurdity is a delight, earning a 97% fresh rating on Rotten Tomatoes, with many praising its bold and uncompromising ending.

Even Teachers Go Wild

At the beginning of the film, we are introduced to the protagonist, Gary Johnson, and his "ordinary troubles." He has a mediocre income, a stable job, lives alone after a divorce, and has peculiar interests. Gary's dull and unattractive image even draws disdain from his students. However, his humdrum day job doesn't hinder the excitement of his side gig. With his expertise in electronic devices and surveillance equipment, Gary is hired by the police as a technician to monitor evidence against suspects, all of whom are involved in hiring hitmen. When the undercover agent posing as a hitman is abruptly reassigned, Gary is promoted to the role, tasked with exposing suspects' motives and completing incriminating transactions.

Initially a mild-mannered and rigid character, Gary's first attempt at impersonating a hitman showcases his explosive acting skills. His convincing portrayal and top-notch disguise techniques quickly expose the suspect, leading to an arrest. This performance earns him newfound respect among his colleagues, and he ascends from a temporary substitute to a top undercover agent. Gary's meticulous attention to detail means he constantly changes his appearance, accent, and personality to appeal to each suspect's psychology.

Glen Powell, known for roles in "Everybody Wants Some!!"（2016）and "Top Gun: Maverick ,"(2022) typically embodies the muscular heartthrob. In "Hit Man" (2023), however, he displays remarkable versatility, transforming into a vastly different character with ease. The seamless transition from a humble college professor to a charismatic killer highlights Powell's range. The film's comedic charm lies in Gary's numerous disguises.

The story takes a pivotal turn when the female lead, Madison Figueroa Masters, enters Gary's life. She seeks to hire a hitman to eliminate her abusive husband and escape her oppressive marriage. Madison's tragic situation prompts Gary to deviate from his usual approach. Instead of luring her into crime, he advises her to leave her husband and file for divorce. The latter half of the film becomes even more engaging as Madison reaches out to Gary. Their relationship evolves from a fake assassin-client dynamic to a "Mr. & Mrs. Smith" (2005) style partnership, culminating in a series of thrilling confrontations.

The Psychology of a Hitman

Many viewers initially draw parallels between "Hit Man" (2023) and the iconic TV series "Breaking Bad" (2008). Both narratives delve into the existential crises of middle-aged men, transforming mild-mannered teachers into ruthless criminals. However, while "Breaking Bad" unfolds with a somber and relentless tone, detailing the tragic downfall of Walter White, "Hit Man" (2023) embraces a lighter, more absurd atmosphere. It uses grand themes of psychology and philosophy to illustrate a dramatic 180-degree turn in human nature.

The film not only depicts Gary Johnson’s character transformation but also intersperses several philosophical and psychological classroom scenes. These seemingly didactic segments serve two purposes: highlighting the dissolution of Gary’s original personality and reflecting on theories of personality. In the opening scene, Gary’s lecture fails to captivate his students, who hold him in low regard. By the second lecture, Gary’s demeanor is noticeably more relaxed and emotionally engaging. By the third lecture, set outdoors, Gary’s appearance and aura have completely changed, even garnering admiration from his students.

Director Richard Linklater skillfully contrasts Gary’s evolving presence in real life with his increasing adeptness at masquerading as a hitman in the criminal world. Another notable aspect is the vivid portrayal of philosophical and psychological theories. The classroom lessons are subtly interwoven with Gary’s drastic personality shift. Can one bravely step out of their comfort zone? How many truly understand their own personality? How can one break down their old self and rebuild a new identity? These philosophical questions mirror Gary’s journey from pretending to be a hitman to actually embracing the role.

In essence, "Hit Man" (2023) is not merely a quirky crime story but echoes Hitchcock’s classic crime films by meticulously showcasing the psychological changes and internal motivations during the crime process.

The Myth of the Nonexistent Hitman

"Hit Man" (2023) balances both depth and entertainment, largely thanks to director Richard Linklater. This non-mainstream Hollywood director is renowned for his dense dialogues and unconventional storytelling, crafting films with a distinct style. The Before Trilogy, beloved by many, revolves around a couple’s evolving relationship, capturing deep conversations every nine years, highlighting the nuances of love, conflict, attachment, and beauty within a single day. Besides the ingenious story setup, Linklater’s loquacious style infuses his films with abundant emotional undertones, making them as rich and thought-provoking as a voluminous novel.

"Boyhood" (2014), similar to The Before Trilogy, employs over a decade of real-time filming to trace the subtle imprints left by time on a family. Linklater excels not in creating highly commercialized genre films but in deconstructing traditional genres with a strong philosophical approach. The Before Trilogy deconstructs romance films, while "Boyhood" (2014) deconstructs coming-of-age films.

In "Hit Man" (2023), Linklater offers a subversive take on the classic hitman genre. Early in the film, it’s revealed that professional hitmen don’t exist in reality; they are merely products of popular culture, figments of collective imagination. This notion challenges the cinematic archetype of hitmen. Whether it’s Jean-Pierre Melville’s stoic assassin in "Le Samouraï" (1967) or Luc Besson’s tender-hearted killer in "The Professional" (1994), both adhere to a code of conduct and possess an old-school mastery of their craft. The recent success of the "John Wick" series nostalgically and stylistically revisits and reimagines the romantic and brutal world of hitmen, celebrating the classic hitman film genre.

But "Hit Man" (2023) is different. Here, the 'hitman' is a fabricated undercover agent, a unique method to ensnare suspects. More profoundly, the 'hitman' is no longer a totem of the criminal world but a performer who stops crime. As the plot unfolds, when Madison Figueroa Masters falls for Gary Johnson and learns assassination techniques from his boasting, she becomes the real disciple of a fake hitman.

Thus, the 'hitman' is resurrected, transforming from fantasy to reality, from a deterrent encouraging good behavior to a dangerous enticement to crime. By the film's end, when Gary Johnson's cover is blown, he seamlessly transitions from a polite college professor to a seasoned professional killer, sharing a passionate moment with Madison Figueroa Masters in front of a suffocated police officer. This scene masterfully blends absurdity, satire, cruelty, and cunning in a way that feels utterly cohesive and natural.

"Hit Man" is most commendable for its deconstruction of the classic screen image of a hitman, while simultaneously showing us the absurd impact a hitman can have on the real world. It breathes new life into a man mired in a midlife crisis and provides a tragically fated woman with the chance to build a happy family. Crime, astonishingly, creates beauty. Calling "Hit Man" the most worldview-shattering film of the year is not an exaggeration."Hit Man" : A Loquacious Director Tackles the Assassin Genre with Mind-Blowing Results.