January 12, 2013 1 Comment
The film opens in darkness: almost two minutes of black screen as a sound montage made of screams, 911 calls and that all-too-familiar crying. There is no need for pictures, somehow those bits of sound are just as recognisable… And we get it straight away. It’s an effective, un-exploitive and subtle way to take us back to 9/11 without having to resort to the abused images of the collapsing towers… Also by using actual archive sound, talking about real about events, real dates, real names and victims, the film establishes certain boundaries of reality which makes it feel pretty much like a documentary… A dangerous and a rather questionable game to play… But more on that later.
Zero Dark Thirty essentially tries to do three things at once: to give us an account of the Osama Bin Laden manhunt “based on firsthand accounts of the events” leading up to his killing, but it’s also a look at black ops‘s modus operandi and their way of obtaining information by means of torture, and finally it paints a portrait of a woman who seems to have no other purpose in life than finding the Al Qaeda leader: unfortunately her character is really paper-thin (kudos for Jessica Chastain for actually making something out of it and for that getting Oscar nominated too) and this ends up being the weakest part of the film, in my view.
There is no denying that Kathryne Bigelow is a skilled director who knows how to tell a complicated story in the clearest of terms, while at the same time cranking up the tension but without falling into the obvious Hollywood clichés. There are certainly interesting, riveting and compelling sequences throughout this handsomely made film, while a lot of serious, important and controversial issues are touched upon… But to me that’s the key problem: they’re just touched upon. Not only the film never really seems to ask any real question, but even when it looks like it does, it never actually gives any answer. Of course, a good movie doesn’t necessarily have to ask questions, nor give answers, but when the subject matter is something as serious as this (including the showing of graphic depictions of Americans torturing their prisoners in order to obtain information) and when you’re doing it in such a manner that the audience assumes this is all real, then you’re beginning to have certain responsibility too.
There are glimpses of an interesting and challenging film here and there, (including an extract from a news report showing Obama stating “America condemns torture”, which happens to be just after a torture sequence), but to me it was all too a bit too little and spare.
This is not meant to be a real documentary, in fact the end credits tell you that this is to be taken as a dramatisation… Well, if that’s the case, the characterisation of every single person in the film is pretty weak (including the already mentioned “super-woman” protagonist).
So if you take it as a drama, it’s all pretty standard fare and rather flat and superficial film. As a piece of documentary and a critique to the “American System”, it’s just too diluted in among all those bad lines of dialogue (“who are you?” -“I’m the motherfucker who found this place”, or “I believe I was spared so I could finish the job”) which in the end diminish the impact that such a subject could have had.
The last 25 minutes of the film follow the actual mission to capture and kill Bin Laden (sidelining even our main character, who completely disappears from the film). It is pretty much shown in real time, without any music (mercifully, because for the rest of the film the score is as obvious and bland as they come). It is a sequence which is meticulously executed and wisely stirs well away from easy heroism or American triumphalism and yet, because of course we all know how it ended, it felt to me not only a bit anticlimactic, slightly voyeuristic, but also a bit pointless, which in a way sums up my thoughts about the whole film.
Certainly a lot of people will talk about the issues raised, but mainly because of the issues themselves, not because the film.
Of course we’ll never know the truth (In fact recently some criticism has been raised about the actual veracity of the facts), but as it often happens with these sort of real-case stories (whether it’s about the birth of Facebook with “the Social Network”, or a terrorist attack with “United 93” or simply Che Guevara’s road trip in the “Motorcycle Diaries”…), this film will eventually become THE VERSION of the truth we’ll all believe, which in this case might be a bit troubling and very questionable.