Rydal (Isaac) is a young American working as a tour guide and small-time con man in Athens when he stumbles upon Chester (Mortensen) and Collette McFarland (Dunst). At the Parthenon Rydal and Chester, strangers to one another, exchange a meaningful and questioning stare. Later, Collette is curious as well and both parties seem to have something more up their sleeve. Both are curious in finding out more. The McFarlands take him on as a guide and both seem to be feeling out the other, attempting to gain the upper hand. Who's past will come out and catch up with them first?
Two Faces has been compared to The Talented Mr. Ripley or Strangers on a Train and rightly so. In fact, I think it takes the strengths of each of those movies and improves on them. Mr. Ripley was overlong as the third-act chase became more desperate while Strangers lacked the visual style and dynamic use of light in Two Faces. The cinematography takes advantage of the exotic on-location setting and the accompanying music hits all the right beats, creating an aura that moves from curious intrigue to life-or-death entanglement. What's more, the ending of this film has a much more satisfying overall story arc (be sure, though, that one or more tragic events do occur along the way).
If you are familiar with ancient mythology you may know of Janus, aka January, the god of transitions and change. Often depicted as a two-faced man, looking to both the future and the past, the symbolism has been used before in the '90's James Bond film Goldeneye (arguable Pierce Brosnan's best as 007). I think because of that reference I imagined the Viggo Mortensen character to be one of dual personalities, a seemingly good man that turns out to be ruinous and conniving to those around him. During the film's climax I wondered if perhaps the twist is that it's the other way around. Rydal has unmentioned history with his father that is implied to be negative. As Chester becomes a sort of twisted father figure consider how this whole affair, in the end, may serve as a reckoning for Rydal.Perhaps because it did stick so closely to genre, The Two Faces of January wasn't a critical hit and seemed to pass by unnoticed at the box office. Give it a chance when you are in the mood for something with characters that spend a lot of time in the shadows. Produced by the team of people that made the grossly underrated Tinker Tailor Soldier Spy, The Talented Mr. Ripley, and Drive, it is worth your time.
