War as Parable - IN THE VALLEY OF ELAH

‘War is hell’ but perhaps it is the postwar that is most telling. At least that is the thesis of Paul Haggis’ latest film, In the Valley of Elah, a story of a father’s quest for his son that reveals some bitter truths about war. Not an easy film to swallow upfront, it is certainly one of the best films of the year.

A grizzled, former military policeman, Hank Deerfield (Tommy Lee Jones), is notified that his son, Mike, is AWOL after returning from the fighting in Iraq. What begins as a methodical search for his son’s whereabouts becomes more tragic and clashes with local police and military brass. Where is his son, and what do his soldier buddies know about one fateful night near their base? And what if anything did happen to him in Iraq? These questions are answered in small pieces and with alarming implications. Hank’s skills at police work help convince local Detective Emily Sanders (Charlize Theron) to take charge of the case despite the doubts of her own colleagues and the military, led by investigator Lt. Kirklander (Jason Patric). Mike’s PDA has garbled video that begins to paint a disturbing picture of the war front. Hank’s search takes an emotional toll on himself and his wife (Susan Sarandon). He and Emily form an uneasy alliance, and, amid theories and suspects, what emerges is an ominous portrait of war veterans on the homefront. Ultimately Hank comes face to face with a disarming truth about his son’s fate and the possible involvement of his military brethren.

The story is based on actual events in 2001 in Tennessee, and its title references the mythic tale of David and Goliath set at a time when the rules of engagement were different than the present. Its sparse, simplistic structure of a mystery peppered with flashback video and imagery may seem on surface like an independent film, but its message and execution is on a grander scale and not merely with dialogue. With effective visuals, much is conveyed by silence, expression, or simple body language.

As with other Haggis films, things that seem ordinary and insignificant at the beginning have implications later on. Though not as overtly obvious with connecting a myriad of dots as in his Oscar winner Crash, the threads are all there to gradually weave together. It is refreshing that the jurisdictional conflict between local police and the military does not take a stereotypic turn of heavy handed conspiracy and coverup even though the military investigators are not cast in the best light. It shares a similar feel with the recent Courage Under Fire where the truth is unearthed in small bits until a bigger picture emerges. A couple of minor plot points go nowhere such as Hank meeting an old comrade who may have connections with military intelligence.

As grandiose and flamboyant as was his Oscar–winning turn in The Fugitive, Tommy Lee Jones’ acting here is equally underplayed; he is magnificent. Through the pain and guilt that creep over his lined features, you also feel his suffering, his loss, and understand his bitterness. His Hank is a proud man, a patriot, who wants the truth. The truth ultimately changes him forever. Equally up to the challenge is Theron, in a strong performance, whose detective is a single mother who must battle her own squad and superiors while trying to solve a mystery. Even Sarandon’s brief moments are affecting as the long distance wife. The rest of the cast is very good; they become real people.

This is not simply the readjustment to the homefront done magnificently in The Best Years of Our Lives or the heavy use of dramatic love triangle to condemn the Vietnam War in Coming Home. Rather, it takes the concept of a given war and allows it to become the ultimate villain in an increasingly sordid mystery. Its ending calls to mind The Deer Hunter but with a more pessimistic bent. It most certainly vilifies the effects of war on its men.

It is significant that a passing quote, “We all do stupid things,” says something about not just the horror of warfare, but what such conflict does to its soldiers, and how they become soulless monsters capable of the most brutal of crimes. This is a brave, imperfect film that sets a somber tone and never lets up. The final image is a statement that makes this perhaps the subtlest of antiwar films ever. Oscar nominations can start here with picture, direction, screenplay, and the duo of Jones and Theron. While not everyone will be willing to let the story unfold with its nuanced direction and understated acting, those who are patient will find a moving tale of innocence lost and corrupted.

***1/2 of **** stars (give Tommy Lee ****)

HIGH NOON WITH 3:10 TO YUMA

Although the western film recently experienced a brief resurgence with Unforgiven, the number of quality ones has been few like Open Range. With the remake of the 1956 cult western, 3:10 to Yuma, (itself adapted from a short story by Elmore Leonard), the genre is primed for another comeback with this tense, well acted film.

Set in the old west not long after the Civil War, a cattle rancher, Dan Evans (Christian Bale), and his family struggle to make a life for themselves as a local businessman threatens to foreclose on his property and make way for a railroad. His cattle are poached by outlaws led by Ben Wade (Russell Crowe) and his lieutenant, Charlie Prince (Ben Foster in a surly, effective performance). The criminals rob a money wagon (in a scene right out of Heat done western style) and stop at a local town. Wade is captured by local lawmen and is escorted to catch the Yuma prison train, which is hours away from arriving. Evans offers to join the group in return for some valuable reward money that will ultimately help his family’s plight. Thus begins a tortuous journey that has potential repercussions for Evans’ family and Wade’s bid for freedom even as his gang is in pursuit. Will Evans and his motley crew get Wade to the railroad station in time and who will survive?

Director James Mangold, fresh from his successful biopic, Walk the Line, again elicits strong performances from his two leads, Crowe and Bale. Crowe is everything we expect him to be, and his role is Oscar worthy. His outlaw is a cultured, Bible-quoting man who effuses an animal magnetism that is appealing to men and women. What is so satisfying here is that Bale is equally up to the task and really shines in a difficult, challenging role. The supporting cast is uniformly sharp with special nod to a grizzled, unrecognizable Peter Fonda as a tough bounty hunter. Logan Lerman is effective as Evans’ older son who is ashamed of and gradually realizes a growing respect for his father. Luke Wilson has an amusing bit role as a corrupt railroad hand.

The film has a plot similar to the 1950’s westerns High Noon and Last Train from Gun Hill, and encompasses elements of the classic western formula, namely the cattleman versus the railroad; only in this case, it is used as a jumping off point to a deeper, more psychological conflict. This is really a movie about what motivates people to do what they do. Most of the dialogue involves Wade’s hurling insults and quips at a stoic Evans. We can see that Wade has a respect and growing admiration for Evans’ seemingly hopeless quest, and the emerging facts have a strong bearing on what is to come. We learn about Wade’s childhood and about what truly guides Evans’ reasons for taking such a risky mission. His role in the Union Army during the Civil War comes to the fore. And how did he get his leg maimed? These shades of background and characterization enrich an already tense and interesting plot. The memorable ending, which pushes credibility just a tad, truly tests each man’s resolve and sense of justice.

Production values are strong with beautiful cinematography by Phedon Papamichael (Walk the Line, The Pursuit of Happyness). The film moves at a deliberate, methodical pace (editor Michael McCusker) and is never boring. It gets to the conflict fairly quickly and reaches its finale, an agonizing chase across town that is quite exciting and riveting right to the startling end.

Make no mistake, this is a film that western enthusiasts will love while those who appreciate a strong, tense character study will find much to savor. Although we expect gold performances from Crowe and the ever maturing Bale (hard to believe this was the boy in Spielberg’s Empire of the Sun), it is Mangold’s prowess in that delicate balance of critically acclaimed, popular filmmaking, that may become a major force in Hollywood for years to come.

***1/2* of **** (mostly for Crowe and Bale and of course western fans)

HORRORFIND’s FAMILIAR FACES

The latest edition of the horror convention Horrorfind in Hunt Valley, MD, on August 11, 2007, was a bit smaller in vendor participation, but not lacking in star power as usual. Headlining the actors and authors was Malcolm McDowell (A Clockwork Orange, Time After Time, Star Trek: Generations) whose latest works include stints on TV’s Heroes and the upcoming Rob Zombie remake of Halloween. A gracious fellow who had the longest of autograph seeking lines, McDowell certainly has lost none of his appeal.

Also signing and mixing with the public were such notables as Udo Kier who gained fame through the early 1970s as Andy Warhol’s Dracula. There was Ernie Hudson from Ghostbusters and The Crow, and Michael Gross from TV’s Family Ties and the Tremors movies (featuring one of the greatest man versus monster face-offs in movie history). Other notables included Dee Wallace Stone from E.T., makeup effects guru now actor, Tom Savini, and many others. One notable absentee was actress Amanda Plummer.

Yes, there were the usual vendors selling posters and other horror-related items that seemed quite bizarre, but a ghoulish time was had by all.

SHORE LEAVE 29 BOASTS ORIGINAL SERIES STAR

Actress Nichelle Nichols played Lt. Uhura in the original television series Star Trek. It was a supporting role that has, in decades since, catapulted her to royalty status at the recent Shore Leave event in Baltimore’s Hunt Valley. It was impressive to see how stunning she looked (at the age of 74) and very much on top of her game when fielding questions during a question-and-answer session. She contributed significantly to the progressive changes and perceptions of the civil rights movement through her portrayal of a star ship officer at a time when multiracial casts were unique to the small screen. She participated in the first interracial on air kiss with William Shatner in 1968 and was very influential in the recruitment process of astronauts in the U.S. space program which actively expanded its roster to include minorities and women. It was she who helped cultivate her character’s name, which started as the name of a book, Uhuru and softened to Uhura. Ever the professional, she stayed for hours into the evening to sign autographs for grateful fans.

Also on hand were cast members from other sci-fi shows past and present including Claudia Christian (from Babylon Five). Did you know that it was between her and Sandra Bullock for the starring role in Speed? She wondered out loud how that might have changed her life. In addition to her acting jobs, she has done singing and voiceover work. A playful, witty actress, she has been working nonstop for several years and currently resides in England.

Herb Jefferson, Jr has appeared in many television roles and was memorable as Nick Nolte’s friend in the landmark Rich Man Poor Man miniseries. Perhaps most people remember him as one of the pilots in the original Battlestar Galactica series of the 1970’s. He reminisced about the hurried, shooting schedule for that show, (which was adored for a brief time in the wake of the Star Wars fad) and how he forged a lasting, deep friendship with series star, Lorne Greene.

The usual group of dealers and vendors selling sci-fi related items was on hand, and the diverse attendees, some of whom were dressed as a favorite Star Trek character (a couple Harry Potter types were there too), all seemed to be enjoying the festive day.

2007 OSCAR PREDICTIONS

Here are my 2007 OSCAR predictions and I can only say that while I saw all the Best Picture nominations and some other titles (Dreamgirls, Pan's Labyrinth, Notes on a Scandal, Devil Wears Prada, Cars), I was unable to catch other nominated ones, so an educated guess is all I can give.

PICTURE-Even though Letters from Iwo Jima was the best of these, and Dreamgirls should have been nominated, and The Departed is 3/4 a great movie, and Babel starts like a great film with great ambitions, and the Queen was too 'perfect' to garner votes, a small, 'a feel good film that could' and one that is neither remarkable or extraordinary except for the fact it humorously expouses the importance of family will win-Little Miss Sunshine.

ACTOR-Forest Whitaker has paid his dues and made the most of a role of a lifetime.easy pick.
ACTRESS-Helen Mirren has paid her dues and made the most of a role of a lifetime. easy pick. deja vu.
SUPPORTING ACTOR-Eddie Murphy's comeback role. He may never do work so good or display his total talent so well. I am wistful in wishing Peter O'Toole the best and Alan Arkin needed a bit more screentime.
SUPPORTING ACTRESS-Jennifer Hudson found the right part at the right time. Just watch her climactic song "AND I AM TELLING YOU I'M NOT GOING" and you could give her the Oscar for those few minutes alone.
DIRECTOR-MARTIN SCORSESE finally gets his dues with The Departed. It would be stunning upset otherwise. Inarritu for Babel and Eastwood for Letters from Iwo Jima would be justified in any other year.
ORIGINAL SCREENPLAY-Little Miss Sunshine.
ADAPTED SCREENPLAY-The Departed one of the few times a film adapted from another film (Infernal Affairs)was honored.
CINEMATOGRAPHY-Pan's Labyrinth.
VISUAL EFFECTS-Pirates of the Caribbean-Dead Mans Chest
COSTUME-Dreamgirls
EDITING-Babel although United 93 stands a great chance.
ART DIRECTION-Pan's Labyrinth despite a possible surge in Dreamgirls
MAKEUP-Pan's Labyrinth
SOUND MIXING-Deamgirls
SONG-Listen/Dreamgirls
SOUND EDITING-Pirates of the Caribbean Dead Mans Chest
ORIGINAL SCORE-The Queen but possible competition from Babel
FOREIGN -Pan's Labyrinth
DOCUMENTARY-An Inconvenient Truth
ANIMATED-Cars
I think Dreamgirls and Pan's Labyrinth could win alot of the smaller awards between them.

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