Major Tom

Major Tom is a conspiratorial action film which boasts both intrigue and spectacle. But clocking in at over thirty minutes, the short sometimes lacks the kind of clarity and taut storytelling that would allow this story to operate at its full potential. In terms of plot, this is quite the unique work; combining real cold-war scenarios centering around the Cuban missile crisis, with the lyrics of David Bowie’s Space Oddity, and some Kennedy assassination speculation sprinkled in from the outset. What an unusual setup! The film begins with a title card which effectively establishes that what you’re about to see is both based on true events and yet is in no way fact – and therefore cannot be considered true in any way. To this critic, this feels like the ‘legal definition’ version of having your cake and eating it too. Yet nevertheless, once the film takes its full shape as the exciting shoot-em-up romp it is, it’s unlikely that the viewer will ever be thinking of ‘the real characters’ upon whom this piece is seemingly based.

Let’s begin with what Major Tom does well... First and foremost, this is a most successful example of action filmmaking. From the cinematography and sound, right down to the editing, every aspect of cinematic construction seems to be in service of the action set-pieces taking place from beginning to end. This critic especially admired the use of fast shutter-speeds during extended long takes, allowing the camera to simultaneously flow freely and uninterrupted, whilst also implementing filmically choppy technical flare which always complements fast movement and disorienting physicality.

All of the gun fights are properly thought through and choreographed to a pleasing degree. However, there is a slight issue with the specific style of violence this movie engages with: what may begin as entertaining, suspenseful conflict occasionally delves into quite unpleasant, awkward hand-to-hand combat territory. It would have helped if the filmmakers kept to a consistent tone here, because – whether intentional or not – you may very well have audiences pumping their fists at the quite Hollywoody gunfights, but then not knowing how to respond during slow, agonising death scenes.

Were this piece to implement a more sober, documentary-esque aesthetic (without the energising Bond-reminiscent soundtrack) then the viewer would know not to be pumping their fist and instead be encouraged to consider this waste of human life. Having said that, the action is one of the picture’s strongest assets; so, on the flip side, it may help this movie to dispose of the real-world correlations and allow the audience to simply enjoy some turn-your-brain-off thrills.

As you can tell, this is a film of conflicting elements, styles and ideas. But before I conclude, I’d like to cite one filmmaker whose work this film feels especially indebted to (in the very best way). And that filmmaker is Michael Mann – particularly in regard to his early work, Thief and Manhunter. There are some incredibly operatic shots of sea water and sunsets, placed in contrast with a synthy score. Beautiful moments such as these provide both the viewer, and the protagonist’s psyche, much needed respite from the bombardment of hostility.