Chapter 1: The Context of 'The Killer'

In recent weeks, my television viewing has been limited to news reports, particularly from Al Jazeera English, which has been diligently covering the tragic situation in Gaza. It's been challenging to maintain a sense of normalcy amidst such ongoing violence, which plays out almost live before our eyes. This immediacy is deeply unsettling; it should trouble everyone, and if it doesn’t, one must question their emotional response.

Yet, last night, I allowed myself a brief respite from the grim realities and watched a film that has been garnering significant attention — The Killer, directed by David Fincher. The film captivated me, with Michael Fassbender delivering an exceptional performance. He gives us two aspects of his character: the visual embodiment of the killer and the internal dialogue that provides insight into his psyche.

Initially, I perceived the film as a sophisticated action piece, characteristic of Fincher’s style. However, that was just a glimpse of its deeper layers. After viewing, the subtleties began to surface in my thoughts, prompting me to articulate my reflections.

Fassbender is masterful, embodying the principles of Zen and the Art of Killing. It's a narrative steeped in preparation, precision, and rhythm. The Killer meticulously plans and eliminates uncertainties. He attunes to his own heart rate, waiting for the precise moment to strike — a perfect embodiment of Zen-like focus. However, his meticulousness fails him when he misses his target, illustrating the unpredictable nature of the universe.

The Killer attempts to exert control over his environment through observation and measurement, only to find that such actions can alter outcomes. In the quantum realm, one learns that observation affects what is observed. This notion resonates with the Killer's experience; as he reassesses his target, the circumstances shift, leading to his failure.

The Killer operates within a rigid Newtonian framework — evidenced by the smartwatch he uses to monitor his heart rate — yet he believes he transcends this predictability. His detached, emotionless voice conveys a robotic quality, devoid of empathy, typical of a psychopath.

Despite his precision, the Killer's predictability becomes evident when he returns home after failing his assignment. His return, seemingly ordinary, leads to unforeseen chaos. This choice starkly contrasts the morally detached mantra he had recited during his assassination attempt. The emotional weight of love compels him, revealing a vulnerability that contradicts his calculated persona.

Before the attack, his actions are transactional. Following the assault, they become personal, especially after the attack on the woman he loves pushes him towards a more human response. Yet, he grapples with the knowledge that embracing his humanity could jeopardize his survival.

His interactions shift from personal to transactional, particularly during a meeting with the billionaire linked to the contract on his life. Here, he calculates the risks of revenge against the safety of the woman in the hospital. One question lingers: why did he have two bottles of red wine?

Ultimately, the Killer is acutely aware that he cannot escape his past. His voiceover at the film's conclusion reflects his desire to blend in with the masses, yet he recognizes his alienation from them. He embodies the archetype of a psychopath who clings to the illusion of control in a chaotic universe. Love, as portrayed in the film, is the ultimate unpredictability.

The Killer’s decision to move his assets to the Caribbean hints at an attempt at retirement, though I suspect it won’t be long before he returns to his violent ways, relying on his honed instincts and skills.

Mr. Fincher, could we anticipate a sequel, perhaps The Killer 2 or Zen and the Art of Killing Part 2?

Chapter 2: The Dichotomy of Control and Emotion

In The Big Mysteries of Quantum Physics, Brian Greene discusses the intricate relationship between observation and reality, echoing the themes present in The Killer.

In another insightful session, Brian Greene and Leonard Susskind delve into quantum mechanics, black holes, and string theory, providing a broader context for understanding the chaotic elements faced by the Killer.