Black Hawk derribado

Gripping, exciting and downright dramatic, this war drama from Ridley Scott is another notch in the director's blossoming career (following on from the disappointing HANNIBAL). Scott handles both the drama and action with flair and skill and the result is an epic-feeling movie which, following on from SAVING PRIVATE RYAN, shows you what war is really all about. Forget the long-gone days of cinema where soldiers never got dirty and war was glamourised to the extreme; this is a film that puts you right into the thick of the action, making you feel like you're actually taking part in the battle. The realism is thick and at the end of the film you feel exhausted so you know the work has paid off.

Technically, the film is excellent, with fine action choreography and some great camera angles that are up close and personal. The various CGI effects are used to heighten the realism of the drama, but the main thing is that you never feel like you're watching CGI, so they are effective in the utmost. The film is bleak, violent and also extremely gory in places, so only strong stomachs need apply. A cast loaded with faces fill out their roles respectively and make you feel for the various characters – in particular William Fichter, Jason Isaacs, Kim Coates, Tom Sizemore and Ewen Bremner give fine performances, as well as the more famous leads. BLACK HAWK DOWN is a classic and exciting war film, utilising state-of-the-art technology to make it even more intense than before. Check this one out.

When you break it down and look at it both honestly and cynically (assuming that that is possible for a minute), there are really only two kinds of war movie: pro and con. The underlying theme of virtually every war movie - particularly since APOCALYPSE NOW - generally comes down to an analysis of the 'value' of war, of its worth. It's pointlessness, or its need. Is the action of battle warranted because of the attempt to find peace, or is war never justifiable, no matter what the intention?

Pro or con?

What is interesting is that since the Second World War, this underlying message that is found in nearly all war pictures has slowly changed from the former to the latter. This again is generally shaped in two ways. Either we see the play-by-play results following the issuance of what appears to be a bizarre and foolhardy set of orders from high command (i.e., APOCALYPSE NOW or SAVING PRIVATE RYAN). Or we get a glimpse of being right in the action as it all falls apart: hearing the bullets whizzing past our noses, reeling from the impact of RPG's and gazing blankly as the bodies begin to mount (PLATOON, say). BLACK HAWK DOWN, directed by Ridley Scott and accurately following the true story of the best-selling book by Mark Bowden, very much adopts the latter perspective.

On October 3, 1993, a small unit of U.S. Army Rangers and Delta Force troops were dropped by helicopter into hostile territory in Mogadishu, Somalia, with what is perceived to be a straightforward mission: the capture of two lieutenants of the Somali warlord, General Aidid. The unit is under command from Major William Garrison (Sam Shepard), and headed by Staff Sergeant Matt Eversmann (Josh Hartnett) in his first direct experience of frontline leadership. He also has a personal goal - to ensure everyone comes back alive.

Yet, these things are never as easy as they appear - hence the development of the book and the film - and when 18-year old frontline rookie Todd Blackbird is injured early on, the entire mission begins to fall apart. More U.S. troops are injured, and when Somalis down two Black Hawk helicopters, the mission changes completely: it's now a rescue operation.

And for about ninety minutes, you are subjected to some of the most intense, disturbing, graphic, violent and chilling pieces of conflict representation that you will ever see. Remember the Omaha Beach scene in SAVING PRIVATE RYAN? That was about half an hour long. Think of something three times that length, yet more 'realistic' and with (thankfully) no flag-waving. That is the gist of BLACK HAWK DOWN.

Ultimately, one hundred-and-twenty-three U.S. troops were involved in the Mogadishu conflict. Nineteen were killed, and one thousand Somalis also perished.

Unlike RYAN, BLACK HAWK DOWN doesn't build up a core group of characters, focusing on their emotional makeup and depth. No. Instead, we barely know our 'heroes', with very little time devoted to each characters motivation or purpose. And this is a good thing. At first, you find yourself a little bewildered by the sizeable cast, and this isn't helped by the many distant POV scenes that found this reviewer wondering just who he was seeing living and dying. But surely that is an important and crucial element of war - you're involved in these suicidal missions with men you barely know. You don't have time to share your life-stories. You may have only met that week, that day, or within the last hour. And then it's full on.

We get snippets of character data: Eversmann's entire focus is on not letting the team down; Specialist Danny Grimes (Ewan McGregor), for so long tied to his desk simply because he excelled at typing; and Delta Sergeant 'Hoot' Hooten (Tom Sizemore, soon to be playing Bruce Banner in THE HULK), wise despite his years, somehow making more sense of the nonsense than anyone else.

But any characterisation is underplayed and to the point, which is how it should be. The fresh-facedness and naivety of the troops is key to the success of the film, and of the emotional impact therein. As the errors and bodies mount, we get to see the horror of the conflict - the carnage and devastation, relentlessness and never-ending waves of Somali forces - directly through the eyes of the U.S. Rangers and Delta Force squad. I was somewhat stunned by the impact of the movie, both in the way the action grips you and shakes you violently until you want to let go, and in the occasional and very touching soft moments. Indeed, the action is so intense that I found myself at times glazing over, thinking of something else, and with hindsight I put this down to some kind of need for an emotional release; certainly, I cannot fault the film in that sense. It was simply a case of 'too much.'

Throughout the movie both the acting and direction are superb; Ridley Scott has an eye for detail and filmography that is probably unmatched. Even his lesser efforts like HANNIBAL are beautifully shot. And BLACK HAWK DOWN is one of his best efforts to date.

The musical score is also superb, and I was encouraged to hear the Stone Temple Pilot's CREEP near the beginning of the flick. I believe this is the first time I have heard a STP song in any movie.

What is also very welcome is the lack of U.S. nationalism in this picture. Of America saving the day. Unlike, say, brother Tony Scott's TOP GUN - which yes, was making a different point entirely (i.e., let's make some money and recruit some boys to the Navy at the same time) - this isn't about the might of the U.S. There is no wake-leaving in BLACK HAWK DOWN. Real people made mistakes, and real people died.

Speaking of Tony Scott, however, my only minor quibble was Sam Shepard's performance. He was probably in the wrong movie, as all his mannerisms (especially the way he took off his sunglasses in that quick-draw kind of way that stereotypical military types always seem to do) appeared to me to come straight out of TOP GUN. He was a little too 'bleh' for my tastes. For all I know William Garrison could have been exactly like that, but it still seemed a little Hollywood.

I also wasn't completely comfortable as to how the Somalis were portrayed; this movie wasn't really about good versus bad in my opinion, but on the face of it the U.S. are the bad guys here. At least inasmuch as they were at fault. Comparisons are made with Vietnam both in the unnecessary involvement of the U.S. in the Somali civil war, and in the end credits of the film where we learn that the Medal of Honour was awarded to two U.S. soldiers for the first time since the Vietnam conflict. Yet, throughout the film the Somali are seen in only two ways - either a relentless force of bloodthirsty killers, or a simple people trying to stay out of the way. Now yes, this may be what it really was like - I cannot say because I wasn't there - but the overall message didn't fit well with me. They seemed too one-dimensional, a bit TOO bloodthirsty, and that left a bitter taste.

Also as mentioned above the film is often confusing during the extended battle scene, and warrants more than one view. As the blood and dirt begins to pile, you will find yourself wondering who you are looking at, particularly when the perspective is on several soldiers from a distance. But that can be forgiven. This isn't PREDATOR, and while that film is outstanding as a piece of science fiction, it made a great effort to separate the marines so that the viewer would have an easy time following each one.

That, of course, isn't real life, and BLACK HAWK DOWN is, perhaps, as close as we've come yet to an accurate capture of the true feel of war.

Rating: **** 1/2 (out of five)

I've been watching this movie and its accompanying extras on DVD this week for the first time and I thought is ironic that this very American war story should be directed and produced by an Englishman (Ridley Scott) and have a large number of British actors cast as the American servicemen (Ewan McGregor, Jasson Issacs, Hugh Dancy, Euan Bremner, Orlando Bloom.) I suppose it's the equivalent of Steven Spielberg directing a film about the Battle of Goose Green during the Falklands War and casting Americans as members of the Parachute Regiment.

Scott's movie is quite brave in that it has no major stars and no central character (unlike, say Tom Hanks in SAVING PRIVATE RYAN or Mel Gibson in WHEN WE WERE SOLDIERS). It's also largely free of the clichés of the genre: no soaring John Williams score accompanying shots of the flag fluttering in the sunlight; no scenes of the families back home. Instead its all about the logistics and the absolute horror of battle. This is the best combat footage since ZULU way back in 1964, a film which it resembles. In Scott's commentary description words, it is 'Anti-War but pro-military'.

While the theatrical cut still resulted in a meaningful film, it irked me originally in the theater and then again recently upon seeing it again that very significant moments from the original Philadelphia Inquirer articles were left out. It was as if someone hadn't just forced Ridley Scott to cut the film down for time, but to de-emphasize the disparity in training and personalities between the Tier One units and everyone else. Was it because they wanted the Rangers to do interviews and go on the talk circuit to help publicize the film? Regardless, the Extended Edition adds back footage I had no idea they bothered to even shoot. The only big thing missing is that Delta medic Earl Fillmore isn't a character, but I assume his family wasn't interested in him being portrayed at all, which is unfortunate. In the Extended Edition, Wolcott instead serves the Fillmore role of reassuring someone and then himself becoming an early KIA. In fact, Fillmore was killed while moving to Wolcott's crash site. So, this was a very smart and fitting proxy. The theatrical cut is, frankly, an inexcusable version that no one should be watching when the extended exists.

Black Hawk Down is first and foremost an immensely effective war film, but beyond that, its one of the most subtly differently made war films ever. Most war films usually either have a single hero through whom we see everything (i.e. Platoon), or present us with a squad of soldiers, all of whom are identifiable "types" (i.e. Saving Private Ryan). Black Hawk Down takes a different approach, instead giving us a very wide array of characters, none clearly singled out as a hero or type to command the audience's attention. The general effect is to create that feeling of a team army that George C. Scott so ardently expounded to us at the start of Patton. Furthering this feel of military professionalism, the film never cheapens itself by putting too much emotional weight into one moment. The plot moves ahead at a constant pace, cutting from location to location, without slowing down to focus too much on individual soldiers. The effect is of watching documentary footage of a real military operation gone wrong. While the effect of this scripting approach may produce some detachment among viewers on the first viewing, it makes the film all the better on subsequent viewings.

And you'd better believe there will be subsequent viewings, because Ridley Scott has created one of cinema's all-time great pieces of eye candy here. The editing, cinematography, grading, scoring and visual effects all combine to leave a viewer just as drained upon leaving the theatre as these soldiers were on leaving Mogadishu. The intensity of this film's combat is easily equal to Saving Private Ryan, and leaves such pretenders as We Were Soldiers behind in the dust. Black Hawk Down lacks the former's emotional resonance, but unlike the latter, it thrives on the fact, creating a final product as mind-challenging in its construction as it is mind-blowing its visualization.