The Man from UNCLE is new on Netflix — but Armie Hammer is still in it

As a film enthusiast with a keen eye for both cinematic brilliance and ethical considerations, I find myself in a peculiar quandary when it comes to Armie Hammer and his latest attempt at a comeback. You see, dear reader, I have always been one who believes that art should be appreciated separately from the artist, but the Armie Hammer scandal has left me with a heavy heart and a troubled conscience.

For the better part of a decade now, I’ve been checking in from time to time on whether Guy Ritchie’s 2015 spy caper The Man From U.N.C.L.E. was available for casual streaming. As a spy movie, I enjoyed it more than any James Bond or Jason Bourne film, or even any Mission: Impossible movie — Ethan Hunt’s big stunts and endless face-swapping are a good time in the theater, but they rarely stick with me long. The Man From U.N.C.L.E. has a particular form of ensemble energy none of those movies have. It’s also a film built around a few really specific, endlessly revisitable setpieces in the way that makes easy streaming access to it more of a draw than owning a copy. So I was psyched to see it finally hit Netflix on July 27 — except that now I have to figure out how I feel about Armie Hammer.

1. In summary: Ritchie’s reimagining of the 1960s TV series “The Man From U.N.C.L.E.” draws inspiration from ’60s thrillers, with an emphasis on the sharp, eye-catching costume designs of the era. The narrative follows two spies of the 1960s – Napoleon Solo (Henry Cavill), a CIA agent, and Illya Kuryakin (Hammer), a KGB agent – initially at odds in the field before being compelled to collaborate to thwart a nuclear crisis. Their dislike for each other is evident from the beginning, escalating to a destructive bathroom brawl before transitioning into exchanging bitter words. Throughout their rivalry, they display an uncanny knack for petty insults, mocking each other’s countries, physiques, and intellects. If one lands a particularly cutting remark, the other can’t help but show signs of discomfort or annoyance.

In this movie, there are females playing significant roles as well. Alicia Vikander portrays Gaby, a character they need to safeguard together, and Elizabeth Debicki (notably impressive in “Maxxxine”) takes on the role of the antagonist, a Nazi-leaning sociopath. Both actors effectively add to the stylish and sophisticated ’60s spy setting. Debicki steals the show with an iconic spy scene where she attempts to outmaneuver and allure Cavill. Vikander faces a more challenging task as her character is predominantly positioned as the damsel in distress or the prize to be won, with a questionable scene involving an attempt to flirt with Kuryakin just to provoke him while under his protection.

In “The Man From U.N.C.L.E.”, the two sharp-featured, perilous men serve as captivating backgrounds for the main event. They continuously trade biting quips expressing their intense dislike for one another, all while collaborating to thwart a suave and sophisticated villain. Crucially, they find themselves approaching a pivotal moment, heavily hinted throughout the story, where one or both may be forced to make a difficult decision: betray the other person.

1. I adore both Cavill and Hammer’s performances, as well as their characters’ portrayal in this film, which highlights them as equals but in starkly contrasting roles. They embody iconic spy-movie figures while subtly revealing vulnerability beneath their masks.

I love this movie. But there’s the Armie Hammer problem.

When a famous actor experiences a significant public scandal, it can be challenging to navigate ethical dilemmas regarding their work: “It’s important to distinguish between the art and the artist.” Or, “Avoiding their creations might unintentionally impact those who contributed to the project.” Or, “Streaming their movie only contributes a minimal amount of revenue to them.”

I share the same unease regarding certain parts of the Hammer scandal. In 2021, his career collapsed due to a scandal ignited by an Instagram post from a past partner, which unveiled texts he had sent her about disturbing sexual fantasies. More ex-partners emerged, alleging physical, emotional, and sexual harm and abuse at the hands of Hammer. A police investigation ensued, but no charges were filed due to insufficient evidence. Hammer asserts that his fantasies are merely fantasies, while his accusers claim the described events transpired during consensual BDSM role-plays.

As a gamer, I find myself grappling with complex emotions towards this situation. On one hand, I’m repulsed by the kink-shaming and invasion of privacy that occurred in this case. It conflicts heavily with my disdain for victim-blaming and the pervasive culture of disbelief surrounding women who speak out against powerful men. Yet, I can’t ignore my frustration over the media’s prurient interest and the endless self-righteous commentary about the explicit, violent texts revealed. It’s a messy mix of emotions that I can’t seem to untangle.

I wasn’t eager to peer into Armie Hammer’s thoughts or personal life, but at the same time, I can’t turn a blind eye to the allegations against him. The women who have come forward claim that he manipulated them with alcohol, drugs, money, fame, and charisma, creating consent grey areas. In matters of private relationships and particularly sexual encounters, I hold the belief that determining an objective truth is virtually impossible since every individual experiences and interprets events uniquely. This idea is explored intricately in the Oscar-nominated film “Anatomy of a Fall.”

In situations like these, I often remind myself that I cannot change the outcome and that my input isn’t required or desired by those involved. I’m not in a position to judge or defend anyone. Moreover, I understand that while it’s human nature to crave clear-cut good vs. evil stories, real life is seldom that straightforward. For instance, in “The Man From U.N.C.L.E.”, there are clear-cut good guys and bad guys, but in reality, people and their motivations are far more complex.

As a dedicated fan, I’ve noticed something intriguing about Armie Hammer lately. The situation surrounding his potential comeback is quite complex at the moment. It seems he’s subtly testing the waters for a return to the spotlight. After a spell of relative anonymity following his loss of representation and contract terminations, he’s once again making headlines. He’s been granting extended interviews to select individuals like Bill Maher and Piers Morgan, people who I believe Hammer trusts to offer reassurance in the face of public scrutiny over the “woke mob’s unfairness,” understand his “I barely etched my initial on her hip” explanation, and not press him too hard about the details of the story.

An Netflix debut may not be enough to gauge public opinion regarding the accusations against Hammer beyond remembering the memes and jokes. Instead, the interviews are more substantial as they focus on Hammer denying all allegations against him, which could be seen as part of a comeback campaign and an attempt to restore his acting career. Hammer has followed the standard steps for a Hollywood return by acknowledging that he’s learned from the experience and expressing gratitude for the friends who stood by him during the scandal. Despite his positive spin on the situation, it’s unlikely that this would prevent him from pursuing further opportunities in Hollywood.

Within a week of its release on Netflix, “The Man From U.N.C.L.E.” has made it to the platform’s Top 10 most-watched films. This isn’t unexpected; many major Hollywood action movies become instant hits when they debut on popular streaming services. Re-watching this film is sure to remind viewers of Hammer’s charm and wit, as well as his ability to excel in the role of a straitlaced character. Moreover, Hammer’s menacing presence adds depth to certain types of characters, making him even more intriguing – an intrigue that may be heightened by the off-screen facts we cannot help but ponder.

Despite my fondness for this film, re-watching it continually underscores the unfortunate reality that power, fame, and wealth are frequently misused to harm others. This observation is dishearteningly commonplace, especially in a society that idolizes these elements so fervently.

Over the weekend, I revisited an intriguing scene from The Man From U.N.C.L.E.: a pivotal moment where Kuryakin finds himself in a predicament, and Solo, played by Cavill, calmly enjoys music and a pilfered sandwich while weighing whether to intervene. I find myself echoing his contemplation as I assess Armie Hammer’s latest attempt at a comeback, pondering if I should continue watching his films without reservations. It’s disheartening that we frequently have to grapple with such dilemmas.

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2024-07-30 21:19