Zero Dark Thirty
Go! Important, real and exciting.
Bin Laden's demise honestly portrayed.
Zero Dark Thirty is Kathryn Bigelow's first film since 2009's explosive The Hurt Locker. For that film she won not only the Oscar for Best Director (and Best Picture), but was also awarded TWENTY-SEVEN other directorial awards in the process. So it's probably fair to have some rather lofty expectations of her, especially since she has again chosen to butt heads with the thick horned consequences of 9/11.
The story of Zero Dark Thirty is not fictional. It is ostensibly a well-researched account of the events that began with the destruction of the twin towers, and ended with the assassination of Osama Bin Laden on 2 May 2011. Unless you have been hiding in a cave for that whole time (which apparently even the "Most Wanted Man in the World" didn’t do) you more or less know what's going to happen. It’s kind of like Titanic but without the soft nudity and with more water-boarding. Since we all know how it begins and ends, and that real events are theoretically less interesting then highly embellished ones, this film is a pretty big challenge. But, remarkably, the (alleged) real-life story is as fascinating and grotesque; uplifting and depressing; controversial and complicated as something imaginary. If not more so.
The story of Zero Dark Thirty is not fictional. It is ostensibly a well-researched account of the events that began with the destruction of the twin towers, and ended with the assassination of Osama Bin Laden on 2 May 2011. Unless you have been hiding in a cave for that whole time (which apparently even the "Most Wanted Man in the World" didn’t do) you more or less know what's going to happen. It’s kind of like Titanic but without the soft nudity and with more water-boarding. Since we all know how it begins and ends, and that real events are theoretically less interesting then highly embellished ones, this film is a pretty big challenge. But, remarkably, the (alleged) real-life story is as fascinating and grotesque; uplifting and depressing; controversial and complicated as something imaginary. If not more so.
Easy comparisons could be made to hit TV show Homeland, but while its protagonist flails around with dilated, weeping pupils and fiery loins doused only by the very red-headed terrorist she seeks to upend, Jessica Chastain - the lead in Zero Dark Thirty - is simply a woman named Maya searching for a genuine, murderous extremist as part of her job, none of which - SPOILER ALERT - involve sexing him in a log cabin. Maya is a rare, impressive female character in a world of cinema usually dominated by a misogynistic view of women. She is not defined or marginalised by her male counterparts and it is a pleasant relief to see. Chastain subtly and intelligently embodies the difficult role of demonstrating the emotional challenges a woman might face while doing the isolating job of hunting down the naughtiest terrorist of the noughties. A Golden Globe has already arrived and a Best Actress Oscar beckons.
Chastain's delicate performance is starkly contrasting to the elephantine theme of tortuous interrogation techniques that stomp around the film. The raw brutality of the CIA's water-boarding, humiliation, and sleep and food deprivation techniques are unabashedly portrayed - a harrowing reminder of what we can so easily turn a blind eye to. A deep whirlpool of controversy has swirled around Bigelow's depiction of torture, with many commentators bizarrely reaching the inaccurate conclusion that her film seeks to endorse torture. This is an odd conclusion to draw from a fairly neutral portrayal, but either way, it will fiercely challenge your preconceived beliefs and force you to arrive at your own, hugely subjective conclusions about that and so many other aspects of what September 11th has caused.
Chastain's delicate performance is starkly contrasting to the elephantine theme of tortuous interrogation techniques that stomp around the film. The raw brutality of the CIA's water-boarding, humiliation, and sleep and food deprivation techniques are unabashedly portrayed - a harrowing reminder of what we can so easily turn a blind eye to. A deep whirlpool of controversy has swirled around Bigelow's depiction of torture, with many commentators bizarrely reaching the inaccurate conclusion that her film seeks to endorse torture. This is an odd conclusion to draw from a fairly neutral portrayal, but either way, it will fiercely challenge your preconceived beliefs and force you to arrive at your own, hugely subjective conclusions about that and so many other aspects of what September 11th has caused.
Of course, the film is still entertaining despite the realism, and you can, in parts, detach yourself from the unnerving truth behind the film and begin to bask in the elegant performances of the ensemble cast, the intimate camera work and the "as if it wasn't scripted" script. Even after 2 hours of foreplay, the climactic raid on Bin Laden's house will have your heart whirring like a helicopter blade. Maintaining this detachment is near impossible, as real television news clips from global events blast out intermittently reminding us exactly how real the world in the film is. In particular, footage from immediately after the 7/7 suicide bombings audibly affected the London audience I saw the film with. The sound of creaking seats and tingling nerves filled the room while everyone was reminded of how proximate that danger was.
This integration into our real lives is the terrific achievement of Zero Dark Thirty. In this respect it is more than a film. It is a truly remarkable piece of film-making that will undoubtedly stick with you as an electrifying memory of sensitive and recent modern history.
Go, soon.
This integration into our real lives is the terrific achievement of Zero Dark Thirty. In this respect it is more than a film. It is a truly remarkable piece of film-making that will undoubtedly stick with you as an electrifying memory of sensitive and recent modern history.
Go, soon.
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