Nice surprise to see my two old friends, Daniel Eghan and Marco Mastrocola, together in a movie. Film written and produced by my older friend, Daniel Eghan, who, I note pleasantly, is much more relaxed in front of the camera, much more natural, much more convincing and credible. I only know Marco Mastrocola from a commercial for CocaCola, in which we both played something very, very short and insignificant, together. Unfortunately, in the final product, directed by the greatest director of commercials in the world, Ulf Johansson, with whom I, Rodrig Andrisan, I filmed 2 other commercials, we did not see each other. I find that Marco Mastrocola is also very credible and convincing. I would have liked the film "The Betrayal" to have been longer and, if I had been contacted, I would have had a beneficial solution concerning that...
Now, I will be the first to say some critical aspects: the film does not tell us what exactly the organization does, it lets us imagine (what is not bad) but, in the context in which John (Daniel Eghan) kills Peter ( Marco Mastrocola), it should have made it clear, I think that John kills Peter far too easily, for almost nothing I would say, without having a strong motivation, without knowing what is at stake, what exactly the deal is about. It is understood that the two, John and Peter, know each other very well. Knowing what John is capable of (killing so easily), why would Peter stupidly risk his own life? And, instead of running out through the back door when he receives him (also stupidly) in the house, Peter comes with the glasses of drink, offering himself to the executioner willingly. The film would be really valuable if Peter, after making the mistake of letting John inside, immediately runs away, gets in his car and drives as fast as possible. Which would give John a real motivation, hearing Peter's car starting, to run after him, getting into his own car and following him. A car chase scene like in "Bullitt" would have turned "The Betrayal" into a gem. I saw Daniel Eghan driving his own car several years ago and I know he is an excellent driver. Catching Peter from behind, in a closed street, I would have finished the film with a confrontation like in the most famous thrillers or westerns, with shootings between the two. And the character of The Boss, not convincing as a boss (think Brando in "The Godfather" for example), I would have interpreted him in such a way that the film would have been selected for the Oscar.
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