Thursday, January 17, 2013
In Theaters: ZERO DARK THIRTY (2012)
(US - 2012)
Directed by Kathryn Bigelow. Written by Mark Boal. Cast: Jessica Chastain, Jason Clarke, Joel Edgerton, Jennifer Ehle, James Gandolfini, Edgar Ramirez, Mark Strong, Kyle Chandler, Harold Perrineau, Stephen Dillane, Chris Pratt, Scott Adkins, Reda Kateb, Fares Fares, Mark Duplass, Frank Grillo, Nash Edgerton. (R, 157 mins)
Factoring out the controversy and whatever one chooses to be outraged about, director Kathryn Bigelow (NEAR DARK, POINT BREAK, STRANGE DAYS) and screenwriter Mark Boal reunite following the Oscar-winning THE HURT LOCKER to fashion what will likely be cinema's defining chronicle of the hunt for Osama Bin Laden. The film has been criticized for a pro-torture stance, but I don't see it taking that viewpoint as much as it acknowledges that yes, torture took place. It doesn't sugarcoat it or pretend it didn't exist because then it would be sanitizing what its purporting to depict. The film doesn't come down on one side or the other, and my interpretation of it is that it's presented and the audience can decide for itself to what extent it glorifies or condemns it. Anyone can find any meaning in anything if they're looking for it, and if it's not there and they want it to be, then they'll simply invent it. The way the film plays out, it's detective and surveillance work that are the primary keys in finding Bin Laden (or, "UBL" as the film calls him). "Enhanced interrogation" took place and the closest we get to a commentary on the topic is CIA black ops officer Dan (Jason Clarke) getting burned out on his current job and requesting a transfer back to Washington, DC, giving these telling words of advice to colleague Maya (Jessica Chastain): "Watch yourself...you don't wanna be the last one holding a dog collar when oversight comes down on this place." That isn't the film "condoning" it as much as it's accurately depicting what was, at the time, an accepted practice, carried out by people following orders. Bigelow and Boal don't come out and say "This is bad," because it's not their job. They're telling the story and telling it as close to the way it went down as they can and time and dramatic license will allow. The people complaining one way or the other are the ones who want their movies to do their thinking for them. And this is a film that runs nearly two hours and 40 minutes, with the torture confined to the first 30 minutes, so the fixation reeks of manufactured outrage. A film like this is a powderkeg and people on both sides of the political spectrum are bound to be touchy about something. There's no agenda here, and to continue harping on it detracts people from experiencing a thoroughly gripping thriller. There's much here in the way or moral and ethical complexity. We know how it ends, but it's not meant to be a stand-up-and-cheer ending. There's no Lee Greenwood over the closing credits here, people.