The "Hurt Locker" is an intense gritty drama that tosses the spotlight on elite bomb specialists and the dramatic conditions they toil through daily on the war-torn battlefields of Iraq.
For me, the screening last night under the auspices of the Los Angeles Times "Envelope" series was a sort-of two-part adventure in respect to the well-crafted (but flawed) project that was handily-directed by capable Kathryn Bigelow (financed by foreign investors overseas).
Several months ago, when "Hurt Locker" was first slated to screen at a Festival in Dallas, I interviewed Ms. Bigelow on the red carpet just prior to the unveiling of her rivetting foray into the inner sanctum of a handful of dedicated men who perform miracles daily in the line of duty for their country (USA).
Due to a scheduling conflict, I was forced to pass on the screening that night, but thanks to "Envelope" and the Landmark Theatre, I was not only able to catch up, but also mull over Bigelow's responses to questions fielded to her by Film critic Kenneth Turan when the floodlights went up at the end of the gut-wrenching film.
For the most part, "Hurt" is an ambitious project which keeps theatre-goers on the edge of their seats.
However, the intense thriller is flawed, so it falls short.
For starters, there were some technical issues - problems with continuity - that were somewhat glaring in the opening scenes.
For example, in one dramatic segment an elite arms specialist is interrupted during the course of an attempt to diffuse a bomb, when a local (possibly an insurgent) drives into a cordoned off area in a threatening stance.
In the next few minutes, the tension builds, in what amounts to a Mexican stand-off.
What went down next was surprising.
Jenner's character - in sum, a wild and cocky dude - proceeds to maneuver his way to the door on the driver's side where he barks out an order.
After a cut-away shot or two - Jenner's character is suddenly caught on camera - once again.
But, in the second pan - he is once again in front of the vehicle which would be physically impossible - given what just transpired a few seconds earlier on screen.
Basically, the shot was a big fat blooper.
For an established director of Bigelow's stature in the business to make such a grievous error in continuity, was truly unthinkable, but there it was staring the audience in the face.
Is it possible that Ms. Bigelow caught it at another screening, but left it in, thinking no one would notice?
Sloppy filmmaking, at best!
During a revealing thought-provoking Q & A, Ms. Bigelow noted for the record that due to unsurmountable complications the production company was unable to secure locations in Iraq, so they were forced to set up shop in a locale in Jordan about five miles from the border.
Once the deal was pacted, Ms. Bigelow facilitated footage of Baghdad (captured on film by screenwriter Mark Boal) to construct large sets that reflected the unique architecture of the Iraquian region she was focusing her lens on.
The sets were large, and allowed for "macro" and "micro" shots, as she succinctly put it.
The filming schematic worked well in this instant case.
Ms. Bigelow was able to shoot wide establishing shots one moment, and zoom in the next, without being obtrusive.
Hence, that aspect of filmmaking technique, lent a realistic bent to "Hurt Locker".
The Director articulated her reasoning for this approach.
"Without an awareness of where the cameras were, the actors remained oblivious to the filming process - and so - were forced to focus on the action around them without being self-conscious or playing to the cameras," she added for clarification.
Frankly, I was quite taken with a number of the innovative shots, from a filmmaker's point of view.
Although Bigelow stayed within the formal approach to standard wide shots, two shots, and close-ups (being mindful of looking room, for example) she managed to implant a distinctive style that prevented well-measured "Hurt Locker" from becoming too stereotypical or pedestrian in nature.
I felt like I was taking in a documentary in the opening scenes, for instance, because of that approach (so real was the drama unfolding before me).
But - when a new character was introduced into the storyline due to an unexpected plot twist which arose during a bomb crisis - I spied the hand of the screenwriter manipulating the story and the terrain they breathed upon.
After a ghastly bout of nasty hiccups and burps (which were difficult to ignore since they revolved around the main three characters and subsequent story development), "Hurt Locker" finally shifted gears into the right direction once again.
Until a sub-plot - which focused on a Doctor who helps soldiers cope with stress - meandered into the picture out-of-the-blue.
When that character met a tragic death due to his own stupidity, it was not a surprise, since I saw that end scenario coming a mile off.
On the carpet in Dallas, I recall that Ms. Bigelow was a bit icy, and ever-the-director.
"You don't have to write that down," she commanded.
"Oh, yes I do," I chuckled, much to her chagrin.
On that occasion, it was quite evident to me that Ms. Bigelow was a control freak.
And, her tendency to hit the media with calculated director's "bites", can be downright annoying.
Post: 09/03/09
http://ijulian.blogspot.com/2009/03/afi-dallasjeremy-renner-appears-for.html
In my estimation, it is doubtful any reporter will ever scratch the surface of Ms. Bigelow's tough outer skin, so guarded is she in respect to her true thoughts and creative thought processses (except for those she is willing to share ad nauseam to further a sugar-coated persona for promotional purposes).
However,on any given occasion, it is tough for any sentient being not to react when an unexpected moment of candor rears its ugly head and triggers an emotional reaction.
As Ms. Bigelow proved without a shadow of a doubt last evening.
For instance, in response to a question fielded from affable film writer Kenneth Turan, Ms. Bigelow noted for the record that although the conditions overseas in the middle east were not luxurious by any means, the actors were forewarned about the lack of amenities beforehand.
Just as the interviewer was about to move on, the screenwriter (Mark Boal) paused a second, then contradicted Bigelow's statement.
"I don't think that's true," he quipped a bit self-consciously.
Bigelow half-turned in her chair - taken aback for a second or two (in what amounted to a knee-jerk reaction) - before she managed to reel in her emotions and "let it go".
As Ricky often lamented to Lucy time and time again:
"You've got some 'splainin' to do!"
No doubt Boal got a tongue lashing backstage or on his cell late last night.
By the way, Mark Boal collaborated with Ms. Bigelow on a previous project, which is how they ended up putting their heads together on "Hurt Locker"
On these shores, the outgoing down-to-earth reporter, was logging reports on the war in Iraq.
But, one auspicous day, he got the bug.
"I wanted to see the War from the perspective of the soldiers on the front," he explained.
So, he nabbed an assignment on the front lines, and fully-documented the horrors unfolding around him.
The Iraq experience inspired the journalist to develop a screenplay (there were at last count over 17 drafts in all) which he later turned over to Bigelow for development.
Once the decision was made to go forward, the production company pursued - and landed - foreign investors (which was a plus to Bigelow).
"We had full control of the project," she proudly noted.
Ah, control, there is that word again.
As I have always said - time & time again - there is nothing worse than a woman who thinks she has a pair of ba**s.
But, in the instant case, it may have been an advantage for the articulate Ms. Bigelow.
She managed to take a gutsy lunge at a tough gritty script and turn it into a respectable thriller on screen.
Impossible to achieve if you're a shrinking violet - or a "yes man" - in Tinsel Town.
Unfortunately, because "Hurt Locker" is flawed and was Hollywoodized (bastardized, too) along the treacherous way - the project (though highly touted in some quarters) probably won't garner any Oscar nods from the Academy (except for soundtrack maybe, or special effects).
In spite of that, a handful of theatre-goers may perceive layers, which just aren't there.
A case in point
When Turan asked Mark Boal about a scene at the end of the film (which focused on the Sergeant's difficulty in selecting cereal from dozens of boxes neatly displayed on a supermarket shelf) the writer agreed with the critic that it underscored that Sergeant James - though capable of diffusing a well-crafted bomb with complex trick triggers - found it difficult to perform simple tasks at home in the presence of his family.
The message I got from that scene was so much more profound than that.
The whole scenario drove home to me one niggling reminder.
American consumers have so many choices - which is in large part due to young soldiers like those depicted in "Hurt Locker" - who fight the good fight for democracy on the war-torn soil of countries like Iraq daily.
Notwithstanding, how would it be possible for any decent human being to ever be concerned about a particular brand of cereal, after they've witnessed young children starving on the streets of impoverished Nations?
Nuff said!
On a final note, and not to be remiss in my duties, it should be noted the music in Bigelow's project was quite remarkable (hauntingly beautiful, as a matter-of-fact).
The composers' scores continually buttressed up (and heightened the intensity of the drama) without taking away or creating any frivolous distractions.
Keep plugging away, Ms. Bigelow.
You've got the raw talent and will undoubtedly turn out a winner one day.
Until then, get real!
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