The first Gulf War in Iraq has been an occasional subject matter of films, but not until Jarhead has a bona fide story emerged which captures the experience and heartache as told by director Sam Mendes. Although Mendes has never been able to match the heights of American Beauty, he does an effective job of making the audience a participant in the rigors of desert warfare.
Raw recruits are thrust into rough, basic training (at times with tragic results) as they are prepared for duty in Iraq. Among them are Anthony Swofford (Jake Gyllenhaal) and Troy (Peter Sarsgaard). Drill Sgt. Siek (Jamie Foxx) whips the young men into soldiers as they are deployed in the Persian Gulf with the imminent threat of war. This is a rough life with constant humiliation and hazing. Then comes Operation Desert Shield with the endless training, waiting, monotony, and more time away from family and home where wives and girlfriends lose touch or stray. Such is the hapless life of the grunt. A hostile terrain such as dirty oil fields adds to the isolation and need for rebellious acts to mitigate frustration. Swofford and Troy are groomed to be snipers, and when their opportunity comes in Operation Desert Storm, they are more than ready until they are dealt an unexpected turn of events.
The recurring phrase or motif in the film is “Welcome to the suck.” That about sums up what these men are put through. Adapted by William Broyles Jr. from Swofford’s own real life experiences, it is an uncompromising recreation of ‘the suck’. Mendes is content to show you what it was like but never dwells on any one scene longer than needed to get his point across.
Told essentially from his point of view, the film opens and closes with a telling monologue by Swofford that sums up his experience. He and Troy form the nucleus of the film’s conscience and soul. Swofford made the mistake of signing up while Troy is the ironic soldier who wants to fight a war but is thwarted by bureaucracy. The film does ring true in its depiction of the preparation for warfare with the heavy toll it takes on the soldiers and their personal lives. Periodically, an onscreen tag will appear to list the number of days the surging numbers of troops were in Iraq (5000 troops increases to 575,000 troops in 175 days), which helps put the events in perspective. This film demythologizes war and instead presents war as a difficult and often life changing experience resulting not from actual combat, but from the tedium and loneliness.
It is important to note that although Swofford shows a dislike for this man’s army, he continues to do as he is told. This apolitical film does not really take a stance on the war. We really don’t get enough background on Swofford or Troy to understand what makes these men tick. Rather, we are left with what they experience and how they respond on a superficial level. Troy comes across as inconsistent and his motivations are questionable. While the evolution of their relationship doesn’t always make sense, the film still packs an emotional punch. About two-thirds through, the film’s momentum begins to lose some steam and direction. There is also a sad event toward the end that is never fully explained.
Gyllenhaal (Proof, Donnie Darko) is showing good maturity as an actor, and Sarsgaard (Kinsey) is effective as his closest buddy. Jamie Foxx (Ray) registers quite convincingly as the leader of this bunch. Dennis Haysbert and Chris Cooper have short but effective moments as commanding officers with axes to grind.
Although movies have been set in the Iraqi conflict like Three Kings, this film deals directly with the soldiers who must do the dirty work. In some ways this film shares a pedigree with an ensemble piece like Battleground. There are allusions to the Vietnam War particularly at the end involving a Vietnam veteran and also in clips from Vietnam movies like Apocalypse Now and The Deer Hunter. The early drills recall some of the most harrowing moments from Full Metal Jacket with the verbal insults and discipline. In fact, some of the vicious lines are hysterically funny. It’s certainly a far cry from An Officer and Gentlemen. Like the soldiers at the beginning of Born on the Fourth of July, they go in wide eyed, full of optimism, and ready for action. Instead, what they find is something that beats their spirits down. In a way, the structure of vignettes and random incidents is similar to The Big Red One without the periodic voiceover. Pop songs of the era are matched perfectly to scenes. Technical aspects are good including the camera work and editing. There are some memorable images including an eerie scene where the patrol comes upon a charred caravan of vehicles with burned, Iraqi people.
Jarhead is not a perfect film, but it is well acted and pulls no punches on what it must have been like in Iraq. Those looking for an action packed war film will be severely disappointed and let down. Except for some character inconsistencies, it is a realistic study in the psychological toll that military life takes on a human being.
*** of **** stars
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