The Hurt Locker – “war is a drug”
Any film that receives a 10 minute standing ovation after its premiere has probably got something a bit special.
The Hurt Locker was greeted with this extraordinary response when it was screened, for the very first time, at the Venice Film Festival. Producers were hoping to find a US distributor; they got a lot more than that, with The Hurt Locker vying for no less than nine of those little gold statues that personify supreme achievement (and more often than not trigger a spike in sales).
The Hurt Locker tells the story of three soldiers in Iraq who are part of an Explosive Ordnance Disposal unit, the guys who handle IEDs - improvised explosive devices.
Staff Sergeant William James takes over as team leader after a bomb disposal goes fatally wrong. His subordinates, Sergeant JT Sanborn and Specialist Owen Eldridge, bear witness to Sergeant James’ unusual and dangerous methods; the chain-smoking, battle-hardened fan of metal music approaches lethal situations with an aggressive and almost care-free manner.
With almost one thousand successful bomb disarmaments under his belt, James has a pretty positive record. But Sanborn and Eldridge have trouble adjusting to his way of thinking, fearing that working with him will almost certainly result in their deaths. James reassures, “it’s combat buddy!”
He is not arrogant; quite the opposite. Hurt Locker director (and James Cameron’s ex-wife) Kathryn Bigelow ensures that we see William James as a strong leader, a tactically astute soldier and someone who colleagues and locals alike can befriend (if they wish). The really interesting aspect of this film is the study of James’ motives for his actions. As the story progresses we learn about the potential for war to have a drug-like effect, with soldiers becoming addicted to the adrenalin rush of live-or-die scenarios, regardless of the consequences.
The Hurt Locker benefits from an almost postmodern edge; Bigelow blatantly plays on the fact that any audience watching a war movie knows that there are no guarantees: hero can die, villain can win, star name can explode, everyone can very easily go home in a body bag. Roll credits. Bigelow uses this to crank up the tension to an almost unbearable level, committing viewers to an emotionally gripping and stunningly intense experience. The use of shaky-cam and POV perspective add that important air of authenticity that is imperative for this kind of art to succeed.
The film has one story thread, and that is all it needs. It explores the reasons and thought processes of men under immense stress, whilst delivering taut set-pieces that take you off the edge of your seat and move you to a secure hiding place behind your sofa. You will have absolutely no idea what is going to happen. The story is juxtaposed against a countdown of sorts; the team have so many days left of their rotation before they can go home. When reminded that there are 38 days left of their rotation, Sanborn responds: “37, if we survive today.”
The film is not faultless; set in 2004, it is strange to see an iPod Touch in use, and also unusual for soldiers to make any references to YouTube. Anybody allergic to anachronisms should look the other way at these points.
The script is wonderfully executed by some excellent acting talent, with the underrated but always brilliant David Morse putting in a surprise cameo, along with Ralph Fiennes and Guy Pearce making memorable appearances. However, it is Oscar nominated Jeremy Renner, playing ‘wildman’ Staff Sergeant William James, who really impresses. He delivers a flawless, gripping portrayal of a confident and brilliant soldier with issues relating to whom or what he truly loves in his life.
The film begins with a quote from War Is a Force That Gives Us Meaning, by New York Times journalist and war correspondent Chris Hedges: “The rush of battle is a potent and often lethal addiction, for war is a drug”. The following two hours provide a compelling exploration of that quote.
Nominated for Best Picture, Best Director and Best Actor in a leading Role, The Hurt Locker is out now.
Image from Screenrant
