Kathryn Bigelow’s debut independent feature The Loveless (1982) came under initial criticism upon its release for supposedly focusing more on mundane surface features than story and was lambasted for containing no cause-effect logic or motivation to its narrative. What Bigelow was doing with this film, and throughout the early years of her career, was playing on our conventional interpretations of genres, often creating hybrids by crossing genre boundaries. The Loveless was a film that transcended the traditional biker films of the 70’s and her unconventional take on genre films is something that has seen Bigelow rewarded with the coveted ‘auteur’ label by many film critics.
Now, 27 years after The Loveless, and despite a migration toward studio films rather than art house features, Bigelow’s new venture The Hurt Locker still bears her traditional auteur hallmarks. In addition to crossing genres, her films often contain a rebellious male character, graphic depictions of violence and have a distinctive visual style, all of which are central to this suspense-filled thriller.
Whereas The Loveless wascriticised for a lack of cause-effect logic driving narrative, in The Hurt Locker’s case there is little else driving the story forward other than the character’s survival. Adrenaline filled survival to be precise. The movie is a thrill-a-minute journey into the daily lives of a US bomb disposal unit while on a 30-day deployment in Baghdad during the last Iraq War. It’s an existence that is best described in a Chris Hedges quote that appears during the film’s opening – ‘war is a potent and often lethal addiction, for war is a drug’.
A Different Kind of War Movie
Despite the initial scepticism that comes with the release of yet another Iraq war movie from the Hollywood machine, it must be said that this isn’t a story riddled with political statement. Not once does Kathryn Bigelow use the film as a vehicle to force her own opinion of the war upon the viewer, nor is she blatantly holding a mirror up to the people responsible for the invasion of Iraq. There is even very little dialogue between the characters on the subject. The Hurt Locker is a deeper and somewhat more refreshing delve into the human psyche, more specifically the ‘grunts’ on the front line.
The line ‘war is a drug’, emphasised at the beginning, tells you everything you need to know about where this film will take you. After we see a bomb disposal go spectacularly wrong in the opening sequence, sergeant Sanborn (Anthony Mackie) and Specialist Owen Eldridge (Brian Geraghty) receive a new Sergeant to lead the team following the untimely death of long term partner and buddy, Matt Thompson. SSgt. William James declares upon meeting Sanborn for the first time – “I’m not here to replace Thompson, I’m just here to try and fill his shoes”. We soon find out that this is somewhat of an understatement as there is an immediate friction between the three men due to Sgt. James’ persistent, cocky rule breaking (there’s the trademark Bigelow rebel for you).
On the new team’s first mission into Baghdad to dispose of a roadside bomb, James makes his intentions known, not hesitating to throw on the protective ‘suit’ and stride blindly down the empty street towards uncertainty and inevitable danger, much to Sanborn’s behest. James nonchalantly ignores protocol and in particular Sanborn’s rigorous adherence to it in order to get the job done swiftly and without fuss.
Sanborn and Eldridge are as similar to James as chalk and cheese. The two hardened veterans, strained by the danger of the job, are just hell bent on getting out of Iraq alive. James on the other hand, the man who disarms the devices, is obsessive about his job, seeing each day as a challenge rather than potentially being his last alive.
Verdict on The Hurt Locker
What The Hurt Locker offers is a view of war rarely seen behind the rose-tinted spectacles of news broadcasts. Albeit fictional, The Hurt Locker brings with it a great respect for what are just ordinary guys doing an extraordinary job. The plot is driven by the countdown of days until the disposal team’s rotation. Only then can they can get the hell out of this Baghdad, a place where each day presents yet another unknown danger.
Kathryn Bigelow really puts the audience through their paces. The level of tension in this film is on a par with any great horror movie. Each disposal sequence takes place in real time and flashes back and forth frantically from James, the disposal man, to Sandborn and Eldridge who act as his cover. You almost begin to sweat as profusely as Sgt. James as he’s rummaging hurriedly through the frame of a car laced with explosives trying to locate the detonator. The camera remains so close to the characters that you almost feel as though you’re sitting next to them in the heart of the action. It’s uncomfortable but compelling viewing.
It’s apparent that Bigelow cares little for star names. There are only two recognisable stars in this film, Guy Pearce and Ralph Fiennes, both of whom make surprisingly short-lived appearances. One thing this tells you is that anyone in this film is expendable. The beauty of this technique is that you never quite know what’s going to happen next, who’s going to bite the dust or even if any of the main characters will come through unscathed.
The Hurt Locker is one of the very best movies set amidst the chaos of Iraq. A wonderfully crafted showdown between Iraqi snipers, the US bomb unit and a group of undercover British Marines is the highlight of the action on the midpoint. It’s got the feel of an indie film with all the budget of a Hollywood epic, two great benefits for any film these days. The quote ‘war is a drug’ appears slightly vague at the beginning of the film but is all too clear once the credits roll at the end of this 130 minute classic.
Rating 4.5/5
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