Can you kill the man who tried to kill you? Yes or No? If he is part of an organization, should you kill the organizers? If you could, would you?
It's very difficult to talk about Denzel Washington's latest film without also talking about Abu Ghraib and bunch of other stuff. As much as I want to keep the subjects apart, I cannot manage it. I am at the point at which I am wanting to make the film a litmus test for sense and sensibility over the question of Iraq, but in a deeper way. However instead of stringing this character study together with what I've been talking about in 'Monsters on a Leash', let it stand as a metaphor for the man who does democracy's dirty work and sacrifice. Denzel Washington has given us a performance for the ages which resonates in many directions.
Here's what I'm getting at. I am trying to break through a kind of social phlegm which I believe to be a self-imposed exile. It is part and parcel of my antagonism to that which I describe as 'dainty'. If I were to call it 'liberal' then it would score me points with my conservative brethren but that's not my aim. Rather I am trying to reveal a kind of denial which will get us in deeper trouble. In the context of Man on Fire, it is the denial that there is a necessary good in the dealing with evil in the harshest ways. I am trying to break through the denial that says there are no noble ends worthy of extreme prejudice.
If the Geneva Conventioneers go to the movies, they would certainly have to give a huge failing grade to the Man on Fire. However I don't think they would convince many Americans that this is not an extraordinarily moving film. But let me qualify that one more step. A moving film in the genre of action is what I'm talking about, and I realize that many Americans don't go to the theater in order to see action films. I don't quite know what to make of such Americans because the great advantage of going to such events is the technology of emergence possible with the large screen and the booming system. Unless you are one of the types who are unimaginative enough to consider 'Sleepless in Seattle' a good reason to date... excuse me, my demographic is showing. 15 years ago, I'd go for a Tarkofsky at the Nuart, these days I go for a Scott at the Bridge. As for Amelie, she waits for pay per view. What I expect from an action film goes beyond the boom to the character in focus, the hero. What is his code?
From the very opening credits, I was stunned at the brilliance of director Tony Scott's sensibilities with light and film. I have been watching a great deal of digital entertainment recently: digital shorts, gaming and game cut scenes. Scott's ability with film expresses a much larger visual vocabulary, and his facility with it is often breathtaking. It is an accelerated communication I am witnessing, the visual equivalent of New Yawkese at a rapid clip. Not since Soderbergh's 'Traffic' has this kind of film been made, and yet where Traffic is an investigation into a series of characters and tragedies, 'Man on Fire' comes down to one. What does it take to unravel the kind of organization that sanctions terror and extortion? What happens when a man who can, does with trained lethality?
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