Mind of a Soldier Explored Inside The Hurt Locker
- Monday, July 13, 2009
One the great strengths of The Hurt Locker—beyond the tension of the bomb-defusing sequences—is its soldiers'-view perspective of the faces of the men and women who watch the Americans as they cut bomb wires and cheat death. Many are as war-weary as the Americans, but it's hard to know if one will suddenly pull out a gun or detonate a bomb with a cell phone. (In one memorable sequence, the mood quickly shifts from peaceful to unsettling and dangerous.)
The most notable missing element from The Hurt Locker is discussion of the source of the men's fighting and bomb-defusing skills (Psalms 144:1), but questions of family life become increasingly relevant as James' unflappable battlefield manner cracks under the strain of daily death all around him. The film elevates these questions above the skirmishes and gunfights that dominate the early part of the film. What kind of life do these men lead back in the States? What kind of family life do they hope for?
The film provides no final answers on the subject of spousal and paternal responsibilities, nor does it glorify James' fearless attitude in fighting the enemy abroad. Rather, it shows how James' behavior not only saves lives but puts his men at risk, even as he prevents damage on a greater scale.
Well-known names like Guy Pearce, Ralph Fiennes and David Morse are underused, but Renner and Mackie compensate with breakout performances. More than the actors, however, the star of The Hurt Locker is director Kathryn Bigelow (Near Dark, Strange Days, Point Break), who, along with editors Chris Innis and Bob Murawski, give the film a riveting immediacy and tension. Cinematographer Barry Ackroyd, who shot Paul Greengrass' United 93, adds to the excellent tech credits.
The Hurt Locker is taut and provocative. What it's not is judgmental. Those looking for a harsh critique of the Iraq conflict won't find much here, nor will those looking for an endorsement of the ongoing war. The Hurt Locker will appeal most to those in search of a satisfying film.
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- Language/Profanity: Lord's name taken in vain; racial epithets; foul language, including several uses of the "f" word; a soldier extends his middle finger.
- Smoking/Drinking: Soldiers smoke and drink several times; an opening quote compares war to a drug.
- Sex/Nudity: A boy selling DVDs tells a soldier he has everything on video, including gay-sex material; a man is seen from behind urinating; soldiers are shown shirtless; a soldier says he was off-base at a whorehouse, and another soldier demands to know the location.
- Violence/Crime: Insurgent attacks and roadside bombs in several scenes; bombs detonate and kill/wound soldiers and others; guns are pointed at Iraqis who may or may not be threats; one soldier punches another in the face; a soldier threatens to chop off a man's head with a dull knife, but then says he was just kidding; multiple gunfights; a man is shot in the back; the men allow themselves to be punched while drunk, just to see how hard their fellow soldiers can hit; a soldier puts a knife to another soldier's neck; men reach into wounded areas of bodies; a young boy's corpse holds a bomb, which is extracted from his abdominal area; an Iraqi fighter is shot in the head, and blood is seen spurting from afar; a soldier forces an Iraqi at gunpoint to drive him somewhere, and he invades a couple's home, pointing his gun at them; a soldier is hit by friendly fire; a suicide bomber.
- Marriage/Divorce: A solider says he thinks he's divorced, but his wife still lives in his house, making their status uncertain.
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