“Argo” is not only the name of Ben Affleck’s directing and acting masterpiece that made its debut September 12th, but also the name of the mock science fiction script used to rescue Americans from revolutionary Iran. “Argo” is anything but a cheesy sci-fi “Star Wars” knockoff.

It is a suspenseful showcase of meticulous detail and accuracy shown through inspiring acting that possibly makes it the best film of the year.

In 1979 citizens of Iran, upset over the American asylum offered to the deposed and dying Shah, stormed the U.S. Embassy in Tehran taking everyone inside hostage. Six employees managed to escape undiscovered and were taken in by a humbly heroic Canadian official named Ken Taylor, played by Victor Garber. 

This embassy takeover occupied the first 30 or so minutes of the film, including a display of Iran-United States background history to set the stage for the oncoming conflict. 

As weeks went by the Iranian government came closer and closer to discovering that the “houseguests,” as the six seeking refuge in the Taylor’s house were referred to, were missing from the Embassy.

Tony Mendez (Ben Affleck), a CIA operative in Washington, was tasked with planning an attempt to rescue the “houseguests.” 

“Argo” is Affleck’s third production directing. Following his success surrounding “The Town,” he seems to have gained maestro status as a director and actor in Argo.

After failed pitches involving bikes, farmers and English teachers, Mendez utilizes the help of a Hollywood makeup artist named John Chambers (John Goodman) and producer Lester Siegel

(Alan Arkin) to come up with a fake movie located in Iran to transport the houseguests out as part of the film staff. 

Chambers and Siegel provide the dry humor that gives Argo a surprising edge over any other thriller.  Chamber had not appeared in the film for more than two minutes and he had already insulted the actors, directors and stories of his Hollywood counterparts with his witty sarcasm. Siegel provides just the right amount of vulgar honesty and no-nonsense attitude to compliment Chambers’ humor. 

Chambers and Siegel use their Hollywood expertise to maneuver Mendez into a fake production company, a fake studio office and a fake script. The script is a knock-off “Star Wars” production named “Argo,” hence the name of the movie. 

Meanwhile, the situation in Tehran poses more and more hazardous to the houseguests as well as the 55 hostages being held captive in their own Embassy. 

The hostage situation is harshly epitomized when Iranian guards lead several Americans into the Embassy basement, line them up, blindfold them and proceed to countdown to their execution only to have the click of empty guns drop the hostages to their knees in anticipatory terror.

Mendez arrives at the houseguest’s place of refuge to be confronted by their tense distrust of the plan and Mendez himself. Eventually the six reluctantly agree to the plan when faced with the fact that posing as a Canadian film crew is the only chance they have to avoid public execution. 

Perhaps the most intense portion of the movie occurs when Mendez and the “houseguests” implement their plan and head to the airport to endure several checkpoints and tense explanations when their verification is in question. 

Meanwhile, Mendez’s superior in Washington, Jack O’Donnell (Bryan Cranson) scrambles to legitimize their operation. Without the verification Mendez and the “houseguests” will be stranded in Tehran’s airport to be captured.

This is Cranson’s greatest display of the movie.  His desperate efforts build the suspense of the film without the use of excessive violence in Tehran. 

“Argo” delivers a vibe true to the late seventies era with the shaggy haircuts, mustaches and turtlenecks as well as emphasizing the tense day by day conflict in both the United States and Iran. Yellow ribbons and prayerful messages litter lawns and signs in the United States as burning vehicles and machine gun wielding security provide the daily struggle in Iran. 

The closing credits display pictures of each character in the movie beside another picture of the real life person. Other pictures include scenes from the movie beside identical scenes from the actual conflict. 

Affleck and his team use the real images of Iranians scaling the Embassy gates, a woman dressed in a chador patrolling the streets with an assault rifle, and a hanging body from a construction crane to offer detail and accuracy that keeps the film relevant and honest.    

“Argo’s” honesty, relevance, acting and storyline should result in the well-deserved label: best film of the year.