No Ruth My Love in Zero Dark Thirty

Director Kathryn Bigelow and star Jessica Chastain hold a mirror up to the manhunt for Bin Laden in ZERO DARK THIRTY.

Director Kathryn Bigelow and star Jessica Chastain hold a mirror up to the manhunt for Bin Laden in ZERO DARK THIRTY.

America’s grand dame of literature, Toni Morrison, has given us many haunting words…but none have echoed in my mind more than the ones from A Mercy when a young girl who has lived through a colonial hellscape in 17th century Virginia announces to the world that she is, “In full.  Unforgiven.  Unforgiving.  No ruth, my love.  None.  Hear me?”

I’d like to think that former art student and painter Kathryn Bigelow has read Morrison, but who knows?  That’s the beauty of connecting one piece of art to another.  Morrison’s words came to clear mind while watching Bigelow’s tightly wound dramatization of events more recent – the man hunt for Osama Bin Laden – in Zero Dark Thirty.  How does one fight against terrorist enemies who are willing to kill anyone (including themselves) to achieve their mission?  Well, the answer is painfully simple.  You show them no ruth.  No mercy.  And you hunt them down by any means necessary and kill them. 

At the center of Bigelow’s film is one of filmdom’s greatest female characters of all time (all the more powerful for having been based on a real-life CIA analyst still working in the field), an agent named Maya played with calculated precision by Jessica Chastain (the doe-eyed red-head, all awkward coils that are both sinewy and frail, and with a soft voice that hides her steely demeanor beneath) who announces her talents to the world with this role much in the way that Cate Blanchett first staked her claim as the Queen in Elizabeth.  Here we see Maya’s journey over ten years from wunderkind analyst to ruthless field operative.  Continue reading

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A Review of Ron Howard’s “Frost/Nixon”

CAPTION:  Kevin Bacon tells Frank Langella, “You are not a horse.”

Mr. Nixon, It’s Time for Your Close-up, 18 December 2008
8/10
Author: David H. Schleicher from New Jersey, USA

Ron Howard’s competent film adaptation of Peter Morgan’s play (who also scripted and co-produced here) dramatizes the famous Frost/Nixon interviews from 1977. At one point in the film, Kevin Bacon’s character explains to Frank Langella’s Nixon that a portion of the interview will focus on “Nixon the man”. To which Nixon retorted, “As opposed to what? Nixon the horse?” Of course what was on everyone’s mind at the time was Watergate and how American was never able to give Nixon the trial they so desperately wanted. Through the unlikely Frost interviews, the American people finally heard the truth behind the scandal–straight from the horse’s mouth.

Morgan’s source material translates smoothly onto film. Much as he did with The Queen, he mixes a behind the scenes look at the immediate time period leading up to the historical event and closes with an almost word-for-word dramatization of said event. Also, like The Queen, we have the excellent Michael Sheen on board, who after playing Tony Blair now takes on the mannerisms of the legendary British talk-show host and man-about-town David Frost. Director Ron Howard nicely interweaves archival news footage, faux-post interviews with the secondary players, and the dramatic reenactments of the actual Frost/Nixon interviews. Howard’s studied but pedestrian style of direction lends itself well to this type of docudrama as he allows the actual events to speak for themselves and the fine performances to shine on their own. Though it takes quite awhile to get where it’s going, the final interview where Frost takes Nixon head-on about the Watergate cover-up is a payoff well worth the wait.

Of course the most fascinating aspect of the film is Frank Langella’s portrayal of a shamed and swollen Richard Nixon. He plays him as a fallen man desperate for an act of contrition but still in too deep with his old trickery and slick ways. His performance, and the way it connects with the audience, is wonderfully layered. On one level, we have an aged actor thought to be well past his prime firing back on all cylinders in a renaissance role that will likely lead to a showering of award nominations. The way the film reduces his performance to that one lingering close-up after being steamrolled by Frost on the last day of the interview leaves a lasting impression. But it also works on another level as it is meant to represent the reduction of Nixon’s political life to that one lingering close-up on the television monitor when he realized it’s all over for him. The audience members who remember watching the interviews and can picture the actual close-up they saw on their TV screens are now allowed to share a communion with the audience members who weren’t even born yet and now only have a memory of Langella’s face on the silver screen. In that sense, Langella truly became Nixon, and his performance will not soon be forgotten.

Originally Published on the Internet Movie Database:

http://www.imdb.com/title/tt0870111/usercomments-34