The Hurt Locker (2009)
The Hurt Locker is an action movie on a very human scale. Sure there is a time and place for your Michael Bay-esque action vehicles, the type that scorch square miles and leave recognizable world cities in ruins. However, those kinds of action movies are never the kind where storytelling ever enters the fray beyond a meager question of how to get from Point/Explosion A to Point/Explosion B. In fact, Bay openly admits to planning the story of Transformers 2 by working on various action sequences during the 2007 writer’s strike and then tasking screenwriters to connect the dots. The Hurt Locker exists in a frighteningly believable world. This isn’t a movie about explosions but about the extinguishing of explosions. It follows the Explosives Ordinance Disposal (EOD) unit, tasked with detecting and detonating bombs and other improvised incendiary explosives (IED) in the field of combat. You will not be restless for loud “booms” while watching The Hurt Locker. In fact, you will be on pins and needles hoping that you never hear another loud “boom.”
Delta Company are the men responsible for protecting the other soldiers by disposing of bombs. The new team leader, Staff Sgt. William James (Jeremy Renner) has defused over 800 bombs during his tour of duty. He knows he’s the best and he’s addicted to the thrill of being so close to death. He will make occasionally reckless decisions putting himself, but not his fellow company men, at higher risk. This does not sit well with Sergeant JT Sanborn (Anthony Mackie), a by-the-book type that doesn’t appreciate his officer chasing a thrill. The other EOD unit member, Specialist Owen Eldridge (Brian Geraghty), is a man more accustomed to taking orders than giving them, and his indecision may have actually cost the life of the former head of the EOD. Both Sanborn and Eldridge worry that their new team member is going to get them all killed.
Director Kathryn Bigelow (Near Dark, Point Break) has been directing male-centered action flicks for over two decades; it’s been seven years since her last feature, the regrettable Harrison Ford submarine flick, K-19: The Widowmaker. The Hurt Locker is her finest work to date by far. Her action sequences are visceral and downright agonizing to sit through. She is masterful at setting up the geography of the set piece, ratcheting up the suspense, adding organic obstacles and complications, and then makes sure with her camera and editing that an audience knows exactly what’s happening to whom for every minute that ticks off the clock. Bigelow takes her time to establish the particulars of her locations and sequences, allowing the audience to, surprise, understand what is happening and better engage in the movie. Bigelow chose to shoot the movie in Jordan, the neighboring country to Iraq, and the locations and actual refugee extras add an unvarnished sense of realism. The movie goes without music during much of the action, which makes it all the more uneasy. There isn’t any over eager composer telling you how you should feel, no direction that now things will get even more hairy. You will feel every second of danger, and Bigelow crams in a whole lot of danger. Things can go wrong very, very quickly.
There’s nothing to action cinema quite like the bomb that’s only a few tick-tocks away from doing its dirty work. Do you cut the yellow wire or the green wire? Never cut the red wire. The bombs found in Iraq are a stark range of death. There’s the crude incendiary device just wrapped up in garbage, but then there’s also the fiendishly clever devices with multiple charges and there are grotesque devices as well. At perhaps the film’s most guttural and shocking moment, Staff Sgt. William James finds the corpse of an innocent stuffed with explosives. The easiest thing would be to simply detonate the bomb, but that would also desecrate the body of someone we have come to know. Watching James snip open the crude stitching and dig inside the chest cavity, if we didn’t know then we know now, Bigelow has made sure that The Hurt Locker is the most emotionally resonating contemporary war film in memory.
Bigelow and screenwriter Mark Boal, an Iraq War journalist, create a vivid sense of dread, antipathy, and most of all, paranoia. Is that a kite flying in the air or is that a signal? Is that a nondescript observer with a cell phone or is that a terrorist with a remote detonator? Is that child being friendly or collecting intelligence? Your mind will race through all these possibilities because Bigelow teases out her action sequences to an unbearably taut level. The audience cares about these soldiers and wants to see them make it back home (we’re informed how many days Delta Company has left on their tour throughout the film), which Bigelow uses to her advantage at every turn. What happens matters. My nerves were frayed during several sequences, including one where the soldiers are pinned down by distant enemy gunfire. The moment turns into a duel and a chess game, as each side tries to adjust their gaze in the searing heat and measure their long-range shot before the other side beats them to it. Then the sequence turns into a waiting game. This is the kind of movie that keeps you poised on the edge of your seat fearful that at any moment something disastrous will suddenly happen. Every time Staff Sgt. William James went back out to defuse another bomb, my sense of dread intensified. I began to doubt everything that I would ordinarily take for granted in other movies.
While being a top-notch action movie, Boal (In the Valley of Elah) has also crafted a great character study. In between the bomb episodes we learn more about these men, which makes it all the more hard to see them then head out to defuse another explosive. The film opens on a quote equating war as a drug, and we explore this notion through the character of Staff Sgt. William James and the weight his unique duty bears. It takes a special person to volunteer for defusing roadside bombs. The defuser must be extremely intelligent, be extremely cool under pressure, and be able to work in a giant suit that makes them look like a chubby astronaut, while enduring debilitating desert temperatures of 110 degrees. It sounds like a suicide mission. James is an adrenaline junkie and war is his drug. He exudes a Zen-like calm in the heat of the moment and this is now the only life for him. Shopping for cereal back home has lost its meaning. Being a husband has lost its meaning. His life now has one purpose. Renner (28 Weeks Later, North Country) gives a stirring performance laced with cavalier confidence and resignation. Mackie (Eagle Eye, We Are Marshall) is also another standout in the pared down cast. When he laments about the dishonor of having no one to remember you in death, you feel the man’s existential sorrow.
Ignore the political cranks that decry The Hurt Locker as another partisan anti-war film from Hollywood. The American public has been mostly indifferent to any contemporary movie that aims to tackle our current military conflicts in Iraq and Afghanistan, but The Hurt Locker eschews the politics of war to focus on the realities and dangers of its characters. These guys are more concerned with surviving the next bomb than the politics of why they’re in the Middle East. The public has voted with their wallets and does not want to see the reality of war onscreen, or at least the Hollywood version of war reality, but I pray that those same people give The Hurt Locker a fighting chance. There is no preaching to be found here. The Hurt Locker could just have easily taken place during other wars, though the current Iraq War allows for added cultural dissonance (Is the central goal of bomb-defusing a metaphor for our conflict in the region?). This is a film that transcends politics and genre.
The Hurt Locker is more than an action movie, more than a war movie, more than a psychological study; this is an outstanding movie. This movie is a drug to the adrenaline senses and I need another hit. This is one of the finest films of the year and as it expands across the nation, I highly encourage everyone to seek out The Hurt Locker.
Nate’s Grade: A
Posted on July 8, 2009, in 2009 Movies and tagged anthony mackie, best picture, drama, indie, iraq war, jeremy renner, kathryn bigelow, mark boal, military, oscars, ralph fiennes, thriller. Bookmark the permalink. Leave a comment.
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