Argo is one of the tightest thrillers in years. There’s a reason why it upset the Spielberg-Lincoln Oscar applecart. Great source story, cinematography, acting, directing, sure. But dig deeper. Why is this such a good movie?
We don’t have to trot Hitchcock out again on the nature of suspense, though I do remember a documentary on the director where he told us—paraphrasing here—that the entirely of his job was the assemblage of juxtaposed images to cultivate the emotion of fright. Film since its infancy was called moving pictures, the juxtaposition of images, the manipulation of them being the entire point of the movie-maker, just as Hitchcock taught.
The key to suspense is crosscutting. Building power and momentum with the juxtaposition of single shots into single scenes, then single scenes into full sequences.
Due to space limitations, I can’t show all the crosscutting sequences of Argo. I could point to the very first frames of the movie where we are cutting between the raging street action outside the gates of the American Embassy to multiple locations inside as various personal shredded documents, called for help, and six of them planning a getaway out the back door. The opening sequence from the time of the first protests to where “The Six” are out on the street fleeing from the sacked Embassy is a total of 10 pages. It plays as a single sequence with movement, relentless and compelling. Even though the audience knows the history of it, to watch it unfold before you in real time is fascinating.
The bookend is the close of the movie, the last few pages of which I include below. The locations I count that we crosscut from in these pages alone are:
–Warner Brothers Studios-Argo Offices
–Canadian Ambassador’s Residence
–Airport, 3rd Checkpoint
–Airport, Inner Office (Telephone Call location)
–Airport, Flight Gate
–Airport, Flight Tower
–Airport, Runway
–SwissAir DC-10
–CIA Headquarters, Langley
It’s a credit to the speed of the cuts and movement of the movie that we are on the edge of our seats even though we know these six people made it out of there! I mean, if you paid to see this movie you know the story ahead of time. They make it out, I know that when I buy the ticket. The thriller grabs us because it unfolds before our eyes. Similar to the tragedy in a movie Milk or United 93 where you know what happens but are forced to watch it unfold. At the end of United 93 I was screaming at the screen, literally, for the Americans to take out the terrorists. Here, pretty much the same deal—the Revolutionary Guard flying in those trucks right beside the plane, this close to forcing it to a stop, when…wheels up! 
I won’t stop the flow of the crosscuts with commentary, but notice how fast they come, how limited the dialogue is, pure imagery, the tension building…
Good Reader, go and do likewise!
Azizi looks at the Studio Six business card and picks up the receiver.
278 EXT. WARNER BROS. STUDIOS – NIGHT 278
SIEGEL: I’m sorry, pally. We’re just gonna be in the movie. Call my agent.
P.A.: Sir. SIR!
Siegel and Chambers walk through the shot toward the Argo office.
279 INT. MEHRABAD AIRPORT – KOMITEH STATION – MORNING 279
Azizi dials the long international number. And it is a DIAL, so this takes a long time.
280 INT. MEHRABAD AIRPORT – THIRD CHECKPOINT – MORNING 280
One of the young Komiteh is loudly debating with another Komiteh the air-worthiness of a futuristic desert glider in the storyboards. He’s miming the thing crashing. Joe Stafford and the Houseguests are silent. Mendez can see the line of passengers on their Swissair flight dwindling.
281 INT. MEHRABAD AIRPORT – KOMITEH STATION – MORNING 281
Azizi rings the phone three times — four times — he’s going to hang up —
CHAMBERS (V.O.)(out of breath) Studio Six Films.
282 INT. ARGO PRODUCTION OFFICE – NIGHT 282
A beat of silence. Chambers catching his breath, listening. The door to the office wide open.
283 INT. MEHRABAD AIRPORT – KOMITEH STATION – MORNING 283
AZIZI: May I speak to Mr. Kevin Harkins —
CHAMBERS (V.O.): He’s out of the country on a location scout. Can I take a message?
284 INT. ARGO PRODUCTION OFFICE – NIGHT 284
Chambers listens for a response. Siegel now catches up.
285 INT. MEHRABAD AIRPORT – KOMITEH STATION – MORNING 285
AZIZI: No message.
286 INT. MEHRABAD AIRPORT – MORNING 286
ANNOUNCEMENT (V.O.): Swissair announces final boarding of Flight 363 to Zurich. All passengers should be at the gate at this time.
287 EXT. CANADIAN AMBASSADOR’S RESIDENCE – MORNING 287
Khalkali and Komiteh are forcing the front door of the house open.
288 INT. MEHRABAD AIRPORT – THIRD CHECKPOINT – MORNING 288
Azizi comes back into the screened-off area. Looks at Joe Stafford, then at Mendez. Then says something in Farsi to the three Komiteh in the holding area. Then he leaves. The three young Komiteh look at the drawings, then at Joe Stafford. Silence for a moment.
MENDEZ: (pushes the storyboards toward them) Our gift to you. From our film.
Komiteh #1, who speaks enough English to understand, translates to the others. They forget their revolutionary mission for a second, happy with their gift. They’d high-five if they could. They’re kids.
Komiteh #1 motions for the Houseguests to go.
289 INT. CANADIAN AMBASSADOR’S RESIDENCE – FOYER – MORNING 289
Khalkali and a dozen Komiteh, guns drawn, rush into the residence. Empty liquor bottles. The remains of what looks like breakfast for a group of people. But the place is empty.
290 INT./EXT. MEHRABAD AIRPORT – FLIGHT GATE – MORNING 290
A BUSLOAD of passengers about to be ferried to the airplane. A Swissair Rep is closing the gate to Flight 363. She looks up to see the Houseguests and Mendez hurrying through the terminal, headed toward her. She holds the gate, speaks in German into a walkie, and —
291 INT. CANADIAN AMBASSADOR’S RESIDENCE – KEN’S OFFICE – MORNING
The Komiteh search the house. Khalkali gets on the phone.
293 INT. MEHRABAD AIRPORT – FLIGHT GATE – MORNING 293
Kathy Stafford’s ticket is taken and she walks through the door. Hurries toward the transport bus. The other five Houseguests and Mendez behind her and —
294 INT. MEHRABAD AIRPORT – KOMITEH STATION – MORNING 294
A phone rings and a Young Komiteh picks up the call. He listens for a moment. Then he drops the phone and RUNS into the airport terminal and —
295 INT. RUNWAY TRANSPORT BUS – MORNING 295
The Houseguests sit aboard the bus, headed to a waiting DC-10.
The DRIVER puts the bus into gear. It doesn’t go. He shakes his head. This goddamn thing. Shifts gears again. Now it goes.
296 INT. MEHRABAD AIRPORT – MORNING 296
Young Komiteh RUNNING through the terminal, pushing through a crowd, making a woman drop her suitcase, contents scattering. An automatic weapon at his side.
297 EXT. SWISSAIR DC-10 – MORNING 297
The Houseguests head up the stairs to the plane.
298 INT. MEHRABAD AIRPORT – FLIGHT GATE – MORNING 298
Azizi and the three Komiteh from the third checkpoint stand up from the table with the Argo storyboards. Young Komiteh shouts at them and they take up their weapons and join him, running — Azizi and the three Komiteh arrive at Flight 363’s gate. The door is CLOSED.
299 INT. SWISSAIR DC-10 – MORNING 299
The Houseguests put their carry-on luggage into the overhead bins. A FLIGHT ATTENDANT is already holding a detached seatbelt preparing to do her safety mime.
PILOT (V.O.):(German-accented English) Ladies and gentlemen, from the flight-deck. We’re looking at a brief delay — *
Passengers groan a bit as they read paperbacks or International Herald Tribunes. Mark Lijek’s arm is around Cora. Lee Schatz is moving his mouth in what looks like a prayer. Kathy Stafford’s fingers shake as she holds an arm rest. Joe Stafford tries to stay her hand. Mendez is sitting looking out the window toward the terminal.
300 INT. MEHRABAD AIRPORT – FLIGHT GATE – MORNING 300
Azizi yells to the Swissair Rep, dragging her back toward the gate. We can’t hear what she says back, but she’s shaking her head.
301 INT. SWISSAIR DC-10 COCKPIT – MORNING 301
From the window, we can see a GROUND CREWMAN give a thumbs-up. The scrubbed Swiss PILOT, 50s, gives a thumbsup back. He gently releases the throttle lever.
302 INT. SWISSAIR DC-10 – MORNING 302
Mendez and the Houseguests feel the plane start to move.
303 INT. MEHRABAD AIRPORT – MORNING 303
Azizi goes to the WINDOW. He can see the Swissair plane slowly backing onto the runway. He picks up a walkie and pushes through the flight gate door, setting off an alarm, followed by the three other Komiteh. He reaches the METAL BARS outside and can’t get past. He CALLS INTO THE WALKIE.
304 INT. MEHRABAD FLIGHT TOWER – MORNING 304
An Iranian FLIGHT TRAFFIC CONTROLLER calmly speaks into his radio in British-accented English.
FLIGHT TRAFFIC CONTROLLER: SwissAir 363, you are Number 2 for departure.
305 INT. SWISSAIR DC-10 – MORNING 305
Out the window of the plane. Two IRANIAN POLICE CARS and a CANVAS-TOPPED TRUCK are headed down the runway toward the plane.
306 INT. SWISSAIR DC-10 – MENDEZ’S POV – MORNING 306
looking out from his window seat.
307 EXT. AIRPORT RUNWAY – MORNING 307
An IRAN AIRLINES 747 takes off, revealing the Swissair jet behind it. Only empty runway ahead of Swissair 363 now and —
308 INT. MEHRABAD FLIGHT TOWER – MORNING 308
ANGLE ON BOOTS, taking stairs two at a time. Three KOMITEH WITH AUTOMATICS rush up the tower stairs —
309 EXT. AIRPORT RUNWAY – MORNING 309
We’re SPEEDING BEHIND two Iranian police cars and a canvas-topped TRUCK as they speed toward the Swissair plane. In the back of the truck we can see half a dozen Komiteh, weapons drawn and —
310 INT. SWISSAIR DC-10 – COCKPIT – MORNING 310
FLIGHT TRAFFIC CONTROLLER (V.O.): Swissair 363 —
The Pilot puts his hand on the throttle control.
311 INT. MEHRABAD FLIGHT TOWER – MORNING 311
FLIGHT TRAFFIC CONTROLLER:– you are cleared for take-off.
The Flight Traffic Controller moves his head-set mic away from his mouth to take a drink of very strong Iranian tea, and — the door to the Control Room BURSTS OPEN. Three Komiteh with automatics, shouting instructions to the Traffic Controller, who spills his tea —
312 INT. SWISSAIR DC-10 – MORNING 312
Mendez looking out the window —
313 EXT. AIRPORT RUNWAY – MORNING 313
ANGLE ON THE THREE IRANIAN VEHICLES speeding ahead — they’re GAINING ON us —
313A INT. COCKPIT – CONTINUOUS ACTION 313A
The CO-PILOT looks out the window. Sees they are being pursued by militia and police. He looks to the Pilot.
A beat. The Pilot reaches down and pushes all four engines to go FULL THROTTLE.
313B EXT. AIRPORT RUNWAY – CONTINUOUS ACTION 313B
ANGLE ON THE JEEPS. We start to PULL AWAY FROM them — leaving them behind –beginning to RISE UP —
314 INT. MEHRABAD FLIGHT TOWER – MORNING 314
The Flight Controller has his arms up… THROUGH the floor-to-ceiling windows of the tower, as three Komiteh watch a Swissair DC-10 angle upward and leave the ground…
315 EXT. AIRPORT RUNWAY – MORNING 315
The Komiteh from the Jeep are now standing on the runway watching the plane disappear.
316 EXT. TEHRAN STREET NEAR AIRPORT – CONTINUOUS ACTION 316
We are looking at a street corner in Tehran when the PLANE CRESTS THE STOREFRONT, heading upward and away.
317 INT. CIA (LANGLEY) – NIGHT 317
O’Donnell and the Kids gathered around some phones and monitors in the Pit.
LAMONT (taking off headphones) We have wheels up.
He starts to punch the air. O’Donnell stays his arm.
O’DONNELL: Wait.
318 INT. SWISSAIR DC-10 – MORNING 318
The Houseguests — holding their breath –Mendez — looking out the window — scanning the air around the plane — behind every cloud —
FLIGHT ATTENDANT (V.O.): Ladies and gentlemen, it is our pleasure to announce that alcoholic beverages are now available, as we have cleared Iranian airspace.
The Houseguests shout and embrace and celebrate. Bob Anders high-fives Lee Schatz, then the other Houseguests. Mark Lijek, crying, embraces Cora. Kathy Stafford is laughing. She kisses her husband’s hand. Some of the other passengers look up from their newspapers, annoyed at this Canadian fuss.
319 INT. CIA (LANGLEY) – THE PIT – NIGHT 319
All eyes watch Malinov, listening, headphone to one ear…
MALINOV: They’re CLEAR!
Cheers in the Pit. O’Donnell embraces Malinov.
320 INT./EXT. ARGO PRODUCTION OFFICE – NIGHT 320
Siegel throws down a phone and rushes outside… to where Chambers smokes.
SIEGEL: OUUUT! THEY’RE OUT!
Chambers and Lester scream like kids who’ve just scored the game-winning touchdown. The P.A. tries to shush them.
321 INT. SWISSAIR DC-10 – MORNING 321
A mini-champagne bottle pops. The Houseguests are celebrating: New Year’s Eve and a Super Bowl victory party in a DC-10 aisle.
