The event that really left the whole world along with movie lovers almost dazed with shock was the untimely demise of actress Natasha Richardson on 18th March in Quebec as a result of a skiing accident. The 45 year old was the daughter of director Tony Richardson and the legendary Vanessa Redgrave and was married to Irish star Liam Neeson. She has been fondly remembered for Patty Hearst (1988), The Handmaid’s Tale (1990) and Maid in Manhattan (2002) among many other films. The other such death that left film lovers all upset and astounded with grief was that of American screen star Patrick Swayze, who passed away on 14th September from pancreatic cancer at the age of 57. The star of films like Dirty Dancing, Ghost, Point Break, City Of Joy and Waking Up in Reno including several others was diagnosed with the illness in late 2008 though he continued acting till his last day.

Among those whose deaths can be described as matured, nonetheless equally hurting for the lovers of the silver screen, the first to name would be the legendary Karl Malden who died on 1st July at the age of 97. One of the last survivors of the golden age of Hollywood, his name is associated with eternal screen classics such as A Streetcar Named Desire, On the Waterfront, One Eyed Jacks, I Confess, Baby Doll, How The West Was Won, Cheyenne Autumn, Patton and The Cincinnati Kid which only form a minor percentage of a long filmography that spanned for six decades. Composer Maurice Jarre, whose “Lara’s Theme” is considered to be one of the greatest pieces of film music ever recorded, also died this year on March 28. The 84 year old Frenchman is equally lamented by members of film as well as musical fraternity who left behind an impressive body of work including scores for films like Lawrence of Arabia, Doctor Zhivago, Topaz, The Last Tycoon, Witness and Ghost along with countless such other equally enchanting pieces of works. 2009 would also be certainly etched into the memory of cinephiles for the demise of two beloved and very dear antagonists. One of them is the iconic David Carradine whose portrayal of Bill in Quentin Tarantino’s epic Kill Bill will certainly go down in history. The other is German born actor Joseph Wiseman who breathed life into the immortal creation of the title role in the maiden Bond flick Dr. No.

On the plot level, the film revolves around the real life story of Mark Whitacre who made headlines as the most renowned whistleblower in the American corporate world being a top level executive himself. An employee of the Illinois based conglomerate Archer Daniels Midland (ADM) who is in the process of steadily climbing up the ladder of success, suffers from a case of bipolar disorder and succumbing to the pressure of his wife decides to turn over to the FBI a whole assortment of evidence in form of written documents and audio and video tapes that charge his company with price fixing in the wake of stiff market competition. An apparent stressful period of three years followed where he worked for the FBI organizing surveillances and gathering evidences to build up the case against ADM, in between which Mark’s own struggle with his psychic disorder gets worse. Finally at the end of it, during the case against ADM, it suddenly gets revealed that Mark Whitacre has been involved in fraud and embezzlement worth $9 million from his own organization resulting in a prison sentence for Mark which is thrice that of his corrupt colleagues.

While Matt Damon’s performance as Mark Whitacre has been generally praised by the critics, it must be said that Damon is not seen doing anything with the character that he hasn’t done in his previous outings. In fact, one can easily detect the shadows of his previous performances in Syriana and the Bourne franchise lurking somewhere behind Damon’s portrayal of Mark. However, the real or rather the essential problem of the film lies with the script. One must admit that it’s a real weak one coming from the man who could go as intense as Lies and Videotapes, Traffic or as tongue-in-the-cheek as the Ocean’s series. “The Informant!” lacks the very fluidity of the narrative expected from a director like Soderbergh and every five or ten minutes duration, the narrative seems to fall flat owing to problems with the pacing and structuring of the film, the weak and feeble attempts at inducing a notion of black humor in certain dialogues, an unsuitable film score and finally what looked like a desperate attempt from the makers at trying their hands on a satirical comedy with a script that demanded a certain different tonality of treatment altogether. It must be said that despite the best efforts from the director to put things into perspective as logically as possible, a lot remains unanswered that gradually takes the attention away from the screen.

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