Zero Dark Thirty

Zero Dark Thirty is an effective blend of logic and emotion, fact and fiction in depicting the decade long search for Osama Bin Laden. Director Kathryn Bigelow’s follow-up to The Hurt Locker is another drama concerning the military, likewise based on a script by Mark Boal. It starts with a black screen and real recordings of people taken from the World Trade Center on 9/11. Not that we need to rouse feeling for that unforgettable event, it is nevertheless an opening that seizes attention at once. Zero Dark Thirty is the subsequent search for the man behind that terrorist plot.

The thriller filters the saga through the efforts of a young CIA Officer named Maya. Jessica Chastain gives an inspiring performance and one through which the developments are filtered. In this document, we are hit with jargon and technical detail. When she’s first introduced, she appears to be a side character, an observer of Dan, her CIA mentor and Navy Seal, memorably played by Jason Clarke. In a movie where methods are emphasized over personalities, he’s one that stands out. He employs “enhanced interrogation techniques” on a detainee to extract information. As the story progresses we realize Maya is our main protagonist. Her unwavering drive to find the terrorist is her focus. The movie turns into the ultimate procedural, in which various clues must be investigated involving computer work, photographs and informants.

“Enhanced interrogation techniques” is a euphemism that includes torture, specifically waterboarding but also entails tactics such as sleep deprivation and humiliation. I wont debate on whether these methods were used because it’s a controversial question with different answers depending on who you ask.. However I will say they are merely presented without support or opposition. To concentrate solely on waterboarding or other coercive techniques that were used by the CIA is really to discount the many other leads and bits of intelligence that the CIA used in determining the whereabouts of Osama bin Laden. That’s a very small part of this story.

The narrative brilliantly uses judiciously placed action to galvanize your outrage. One particularly intense scene involves CIA agent Jessica played by Jennifer Ehle and her discovery of a mole, a Jordanian doctor. The breakthrough develops into something that highlights the constant danger that these CIA operatives were under. Their big break becomes a galvanizing incident for the audience. It furthers the anger that 9/11 provoked. Granted there is a definite desire to stop further attacks, but there’s also an acknowledged element of revenge that the moment stirs within the viewer. It allows us to share in Maya’s defeats and increase our understanding of what drives her.

Naturally the struggle to find bin Laden was a 10 year objective that encompasses hundreds of people. Maya is important because she gives the fight a face with which to identify. When she finally feels she has a solid lead on bin Laden’s actual location, she urges the military to strike with an elite force. But the argument of whether they can follow that revelation is a measured discussion rooted in the possible uncertainty that could have dire repercussions if they’re wrong. She’s relatable because she doesn’t seem superhuman, although she has the resolute strength of her convictions. We completely understand her motivation in making these terrorist acts stop immediately. There’s a running gag where she writes the number of days elapsed since they’ve extracted this vital information and nothing has happened. Her frustration is understandable and so we are drawn to her. She’s human and likable.

History has already shown how this mission ends. Yet that doesn’t lesson the tension or excitement. It’s telling that despite the fact that we know this was a success, we are still fascinated by the way it unfolds. Through a blending of action sequences interspersed with data gathering and policy, we get a nuanced portrait. Zero dark thirty is a military designation for an unspecified time after midnight but before sunrise. Here it refers to the time in the dead of night that the raid of Navy SEALs invaded Bin Laden’s Pakistan compound.  The final third of this procedural culminates in the pulse pounding depiction of that raid on the building . It’s an incredibly satisfying ending to everything we’ve watched leading up to that point. This is a movie not a documentary. As with a subject that is shrouded in a high level of secrecy, one must approach the film with a healthy level of skepticism. CIA officials have admitted to conferring with film-makers on the project but insist that the finished picture is a dramatization as opposed to a historical record. And while Zero Dark Thirty doesn’t quite delve as deeply into personalities, the thriller’s information based structure is endlessly entertaining in presenting this fascinating story.

Casablanca

You might think a science fiction special effects extravaganza would be the best representation for the definition of a Blu-ray Disc. Yet the 70th anniversary edition of Casablanca that I received complementary from Warner Bros. Entertainment is a stunning example of the quality of the medium. The picture has been painstakingly remastered one frame at a time. Matinee icons Humphrey Bogart and Ingrid Bergman have a clarity as if the movie had just been released. Who knew that glorious black and white could be more vivid than a color movie? It doesn’t hurt that the story is considered by many to be the greatest ever filmed.

THE classic romantic drama set in early December 1941 during World War II . Our story concerns “Rick’s Café Américain”, an upscale nightclub and casino. The hangout is the setting for the wheeling and dealing of various public officials and refugees desperately trying to get out of Northern Africa to the more friendly atmosphere of America. The establishment is run by Rick Blaine. Humphrey Bogart is a jaded American expatriate who is beholden to nothing and no one. That all changes when into his joint walks Ilsa Lund and her husband Victor Laszlo, a renowned Resistance leader and idealist. A fugitive who has escaped a Nazi concentration camp, he is seeking “letters of transit” which would allow he and his wife to leave for America where they can continue his patriotic work.

The characters elevate Casablanca to the very epitome of supreme sentiment. Humphrey Bogart, Ingrid Bergman and Paul Henreid form a love triangle that consistently engages the emotions from beginning to end. One can almost see themselves in the narrative structure. It’s a film about falling in love, making difficult choices, and doing what’s right. Despite Bogart’s stated indifference, his actions betray some profound feelings. Ingrid Bergman is the woman torn between two lovers, but with a detached personality that’s a bit challenging to read at times. Claude Rains as Captain Louis Renault is a rather self serving fellow. As Vichy France’s prefect of police in Casablanca, he’s unscrupulous and corrupt, cooperating with the Germans who happen to be in charge. “I blow with the wind, and the prevailing wind happens to be from Vichy.” Yet his friendship with Rick appears sincere. Renault shows signs of being a decent man at heart. Conrad Veidt portrays Major Heinrich Strasser with distinctive restraint as the chief Nazi villain and Victor Lazlo’s foil.

It’s clear why this has become the standard by which all romances are judged. Casablanca is a script of Swiss watch precision. It breezes by in a brief 102 minutes. Not a single moment is wasted, not a solitary misplaced word. It’s surprising that this drama set during World War II contains no battles, no extended fist fights, and no reliance on any physical action whatsoever. The one altercation that erupts in the bar is quickly ended by Rick. What we do have is one famous scene after another. Just try and not feel a tinge of French patriotism when the cafe patrons sing La Marseillaise drowning out the Nazi’s rendition of Die Wacht am Rhein.

What still fascinates is the depth of emotion that emanates merely from the written word. The script, which won the Academy Award, is amongst the greatest of all time. The writing is a treasure trove of classic lines that are some the most recognizable ever written. That climax at the airport is the perfect culmination of any plot ever committed to celluloid. It feels so right. Perhaps the freshness of the scene is somewhat lessened by the familiarity of the dialogue. But that’s merely a tribute to how enduring those phrases remain. Casablanca is an original that single handedly justifies the importance of the film medium.

War Horse

Deeply poignant war drama about a magnificent stallion named Joey and his experiences in the midst of World War I. Right from the opening scenes of the rolling hills of Devon, England where a mare gives birth to a young foal, we can feel the director laying the groundwork for an emotional journey. I think human beings have an innate desire to love horses anyway, so it’s not like we need to be convinced of that. However that doesn’t stop Spielberg from laying on the sentiment. His philosophy is to recall pictures of yesteryear with a mixture of stunning panoramas, a lush soundtrack and old fashioned heart. Spielberg pulls out all the stops and his command of cinematic exposition is incredibly effective.

This is stirring stuff and he expertly wrings emotion from both the environment as well as gorgeous music. Absolutely stunning cinematography emphasizes sprawling vistas of rural England and sequences across the battles of Europe to stirring effect. Polish cinematographer Janusz Kaminski has photographed all of Spielberg’s works since 1993 and he’s in fine form here. The landscapes are bold and saturated with color. Scenes are bathed in an ethereal warm glow and shot with an eye for nostalgia. And then there’s that score!  The sweeping orchestration is courtesy of none other than legend John Williams who contributes a suitably majestic soundtrack that perfectly complements the action onscreen.

War Horse is Spielberg’s first effort in tackling World War I as a subject. He skillfully presents British author Michael Morpurgo’s novel with all the discretion befitting a children’s novel. Spielberg has dealt with the subject of war before: Empire of the Sun, Schindler’s List, Saving Private Ryan. War Horse is not as punishing in subject matter as those forays in the genre. Still he doesn’t pull back from the fact that this is picture about war. As the plot progresses we’re treated to little vignettes as Joey passes hands from an auction to his owner, who subsequently sells him to the British military only to accidentally fall into the hands of the Germans later. There Joey befriends a larger black horse and their friendship is as affecting as any human one. But Spielberg’s touches aren’t all saccharine. He presents the story’s more harsher passages in a masterful way that is powerful and yet never bloody. We’re introduced to tender human characters that we bond with only to have them executed before us. The actual killing covered by the blade of a windmill as it turns. In another serious scene, Joey’s untamed sprint across a war torn battlefield has painful consequences and the scene made me wince as much as anything I saw this year. Be warned, if you’re an animal lover, it will be hard to watch.

Spielberg’s War Horse is a grand saga in the classic Hollywood vein. His picturesque vision recall classics like The Yearling or Shane. Even Gone with the Wind is suggested in the closing silhouetted shots. At the center is a remarkable stallion that gives a heartrending performance. Everything essentially revolves around him as he changes various hands during World War I. It’s a rousing document and one has to actively resist Spielberg’s admittedly calculating style to hate this movie. War Horse is anecdotal in nature, a tale of perseverance from the point of view of a plucky animal. I pretty much ate most of it up, but I’ll admit the picture’s charms are rather blatant. There are instances where it verges on mawkishness. But I’ll forgive Spielberg for that. War Horse is a venerable epic from one of our greatest filmmakers working at his manipulative best.

Grand Illusion

French drama is a fascinating study of unlikely friendships during WWI.  Legendary director Jean Renoir celebrates brotherhood among prisoners and guards within a German war camp.  The action follows three French officers captured as P.O.W.’s.  The well drawn characterizations are what ultimately draw the viewer into this anti-war commentary.  Lt. Maréchal is a husky working class type, Lt. Rosenthal, a wealthy Jewish banker and Capt. de Boeldieu, a member of the aristocracy.  The three are planning escape by digging a tunnel.  Capt. von Rauffenstein is the German commander of their fortress prison.  Despite being on opposite sides of the war, he bonds with Boeldieu based their similar social class and intellectual ideals. Rarely have enemies displayed such amiable camaraderie in a P.O.W. situation.  In another scene, Rosenthal shares his food parcels with his fellow prisoners, so that they actually dine much better than the guards do.  Indeed it begs the question, why would these prisoners even want to break out?  Certainly the generous treatment they experienced at the hands of their genteel captors exceeds the miserable life of the infantry in the trenches.

To truly grasp this astonishing point of view, it’s important to examine the movie’s release date amidst the historic background.  WWI ended in 1918.  Grand Illusion was released in 1937.  Two years before Nazi Germany’s invasion of Poland, but well after Hitler had assumed power.  This makes the script’s friendly depiction of all the officers regardless of nationality, religion, or social class, rather surprising in this context.  Ironically the Nazis would ban the film, ostensibly because of its anti-war message.  All copies were destroyed in 1940, except for one negative they missed.

The film is consistently ranked as one of the brightest stars in the cinematic firmament.  It’s a notoriety that unfortunately detracts from a modern moviegoer’s first viewing of the picture.  Is it the greatest masterpiece ever committed to celluloid?  Hardly, but the terrific characterizations subtly reinforce the futility of combat.  Why are these honorable people fighting?   Director and co-writer Jean Renoir’s experiences as a soldier shape much of his view of it as a “war of gentlemen”.  Perhaps a poignant lament of an attitude that the world on the brink of another global conflict, would never see again. This is a war film without a single battle and only one death.  The portrait is such an anomaly in this genre.  An overly idealistic view to be sure, but too eloquent to forget.

The Messenger

Powerful account of two soldiers who are assigned to the Casualty Notification Office delivering the news to families of people in Iraq who have made the ultimate sacrifice.  Captain Tony Stone is the old hand doing this and it’s up to him to train Staff Sergeant Will Montgomery to communicate the message properly, without getting emotional.  Both Woody Harrelson and Ben Foster are extraordinary as military men selected to perform a task no one would want.  They develop a close bond as both have no choice but to deal with a bad situation. The individuals that must drop a bombshell such as this, prove that war on the home front can also be hell.  This theme may not be a deeply original, but the story here feels fresh and is told from a new perspective.   There’s even an interesting ethical dilemma concerning actress Samantha Morton as a woman whose husband is killed in battle. Indeed it’s painful viewing to see so many get such horrible news, but it’s handled with sensitivity.  These vignettes are the most compelling scenes in the film.  It’s a testimonial to the script’s power that it never seems exploitative.  We experience nothing less than genuine emotion.

The Way Back

POW drama inspired by the “true story” of a band of prisoners who escaped a 1940 Soviet labor camp.  What should have been a slam dunk in excitement becomes a slow, boring trudge across unforgiving terrain.  Wilderness-survival stories are usually riveting because of the various obstacles the protagonists must endure, yet there isn’t a lot of conflict here.  The actual prison break is surprisingly easy.  There is some commotion when they first escape, but no one is ever seen chasing them during  the movie.  Just distance and environment stand between them and freedom.  Nature is the villain.  Yawn.  Not helping matters is the characters’ lack of charisma.  The group starts out with 7 men but only actors Ed Harris and Colin Farrell really have much personality.  The other 5 are completely interchangeable.  Later they add a pretty Polish girl to their party, but even she might as well be one of the guys too.  No romance, nothing unique that sets her character apart from the rest either.  The film’s best asset is the stunning cinematography by Russell Boyd.  His vivid photographic style overshadows an uneventful 4,000 mile hike.  Triumph of the spirit over abusive elements has been presented more compellingly before.  Never Cry Wolf comes to mind.  Sadly here, the plot is essentially a harsh travelogue of snow and sand.

The Dirty Dozen

The quintessential all male action-adventure film.  12 prisoners convicted of violent crimes, can save themselves by volunteering for a suicide mission. Innovative and influential, this war film was rather progressive for its time in both attitude and brutality.   Actor Lee Marvin as Major John Reisman is not your typical OSS officer.  Cynical and rebellious, he’s placed in charge of a rag tag group made up of murderers and psychopaths that he champions.  What’s interesting is how director Robert Aldrich somehow manages to balance this depraved lot with enough good old-fashioned fun to make an entertaining bunch that we actually root for.  The cast is uniformly excellent.  John Cassavetes received the Oscar nomination, but Charles Bronson, Jim Brown, Trini López, Telly Savalas, Donald Sutherland and Clint Walker all contribute significantly to the film.  A rousing adrenaline rush.

Stalag 17

Absorbing drama about American POWs in a German World War II camp. Apparently, someone amongst the prisoners is a traitor, but who? Fascinating assortment of characters exhibit real camaraderie. Although there is an expected gravity underlying the proceedings, never before has a POW camp been enlivened by so much humor. Even legendary film director Otto Preminger as the evil camp commander, appears humorously benevolent. In the hands of a lesser director, the mix of comedy and drama would be jarring, but writer-director Billy Wilder flawlessly adapts the 1951 Broadway play with a discerning eye. Actor William Holden is also brilliant as the cynical and self centered prisoner, J.J. Sefton, ostracized for the preferential treatment he receives from the enemy. It’s a brilliant achievement that earned him the Academy Award for Best Actor. His portrayal anchors a film already overflowing with brilliant performances.

From Here to Eternity

Leisurely paced WWII story about the months preceding the Japanese attack on Pearl Harbor at Schofield Barracks in Hawaii.  Best remembered for the romantic rendezvous between Burt Lancaster and Deborah Kerr embracing on the beach as the waves crash over them.  Be that as it may, this film is better appreciated as an acting powerhouse featuring one of the greatest casts of any film.  Montgomery Clift is memorable as a private whose life is made miserable by an army captain when he refuses to fight in the regiment’s boxing team.  Burt Lancaster is also excellent as a sergeant involved in an affair with his commander’s wife.  Too emotionally sentimental to be a war movie and too macho to be a romantic drama.  This entertaining (albeit overrated) literary adaptation fits somewhere in the middle.  Received thirteen Academy Award nominations and won eight, including Best Picture.

The Bridge on the River Kwai

Thrilling epic about British prisoners during World War II who are ordered to build a bridge to accommodate the Burma-Siam railway.  Director David Lean has wisely focused not on the overall conflict, but on the individuals involved and in doing so, has fashioned a perfect fable.  Set in a Japanese  POW camp, this landmark story features the now classic battle of wills between camp commander Colonel Saito and prisoner Colonel Nicholson.  Sessue Hayakawa and Alec Guinness bring a brilliant subtlety to their respective parts.  Their characterizations are transcendent: fully formed characters that are noble in their determination, yet critically flawed.  The ethical conundrum it raises is just one of the many plot points that makes this drama so mesmerizing.  Every 161 minutes of this film just flies by, and I don’t say that often.