Under the Covers

Breach smothers under its own restraint.

by Cindy Fuchs

When he learns he has been "tasked to headquarters," FBI agent Eric O'Neill (Ryan Phillippe) is almost disappointed. He's been monitoring suspected terrorists, and the new gig — assisting the head of the Bureau's brand-new Information Assurance division — looks dull by comparison.

But Eric is a good plebe, and he does what he's told. He's a little put off by the curt manner of Kate Burroughs (Laura Linney), who informs him of the move, and of his new boss's frankly inflexible and religious enthusiasm. The assignment only seems gnarlier when Eric finds out he's supposed to be spying on Robert Hanssen (Chris Cooper), who he's told is some kind of sexual pervert. Still, being young and ambitious, Eric imagines that a good performance on this job will lead to better assignments, and so he settles in at the new office, in a basement outfitted with squeaky chairs and antiquated computers, keeping his journal of Hanssen's activities: "No detail is insignificant," instructs Kate.

All this setup is somewhat coy, if entertainingly meticulous. You already know what Eric doesn't — namely, that Hanssen has been selling secrets to the Russians for more than 20 years. Based on the true story of Hanssen's infamous takedown, Breach is not unlike Billy Ray's previous cat-and-mouse saga Shattered Glass. Again, investigation and multiple layers of deceit are galvanized by smart, taut, mostly understated performances. Still, the first version was better.

Breach suffers from the sheer scope of Hanssen's offenses and the unknowability of his reasons. Though Eric mocks Hanssen's stiffness, he's impressed by his sensitivity (when Hanssen learns that Eric's mother has Parkinson's, he researches the illness) and spiritual dedication. "God expects you to live your faith at all times," Hanssen instructs, adding that he disapproves of "women in pantsuits."

TO CATCH A THIEF: Chris Cooper (foreground) and Ryan Phillippe. (CLICK IMAGE FOR LARGER VERSION)

Bonnie Hanssen (Kathleen Quinlan) appears subservient in a Stepfordy way, her creepiness enhanced by a brief glimpse into the couple's bedroom that may or may not be designed to convince you of his slightly discomforting passions. Their encounter includes dark shadows, sorta-Catholic ritual, and some minor role-playing, perhaps giving credence to the Bureau's interest in Hanssen's sexual interests, or maybe making his spy work of a piece with his other corrupt proclivities. That you see this bit of business and Eric doesn't suggests you know more than he does, but you're still supposed to trust his instincts when it comes to reading his target.

This would be the movie's primary sticking point, your relationship with Eric. His treachery is cast as heroic as he tricks a master con artist, bringing down the worst spy in U.S. history. But the movie takes up some predictable plot structures: cross-cutting during a scene where Eric must delay Hanssen's return to the office, climactic showdown in the woods, heavy-handed religious iconography. With such machinations, Breach lapses into its own distrust, of Cooper's very subtle work.

(c_fuchs@citypaper.net)

Breach

Directed by Billy Ray

A Universal release