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Posts Tagged ‘Army’

Hitchcock loved The Hurt Locker? As in Alfred Hitchcock? Really? Hasn’t he been dead for like 30 years? Yes, I guess I should have said that “Hitchcock would have loved The Hurt Locker”—but that’s a long title, and less interesting. So why do I think the master of suspense and a psychological thrillers would have appreciated the film that picked up the best picture Oscar Sunday?

Well, in part because The Hurt Locker was suspenseful and psychological. But there are three other reasons that come to mind of why I think director Kathryn Bigelow and screenwriter Mark Boal tapped into the Hitchcock creative mindset as filmmakers.

1) Hitchcock said that the difference between shock and suspense was the difference between having a bomb suddenly going off surprising the audience (shock) and the audience seeing that there is a bomb under a table with a timer ticking down (suspense). The later being able to hold your attention for a long time no matter what the conversation is above the table. Bigelow and her editors knew they didn’t need to rush certain scenes and used the built in suspense to their advantage.

2) Little dialogue/strong visuals—Hitchcock came from the world of silent films and believed you only used words when the visuals didn’t tell the story. (Watch Psycho, North by Northwest, Vertigo, and The Birds to see excellent examples.) Bigelow studied painting before she became a filmmaker and The Hurt Locker is strong on visuals. Hitchcock embraced simplicity at times sometimes using little or no sound effects. Sometimes pulling the effects and music altogether for a dramatic effect. I’ve only seen The Hurt Locker once so far but I seem to recall the music and effects track being spartan at times. I’m sure much effort went into the sound design of The Hurt Locker but it didn’t overpower the track and at times seemed to be just actor Jeremy Renner breathing in his protective suit.

3) Hitchcock didn’t care about reality. There have been a few articles about how some bomb experts in Iraq don’t feel like the film was realistic. One used the words “grossly exaggerated.” Bigelow wasn’t making a documentary. She was making a movie. And movies as I learned in film school are “heightened  reality.” Some cops never shoot their gun in their whole career, but that tends not to make for good drama. Hitchcock didn’t worry about reality and I’ll let him explain his reasoning, after all he’s the guy who had a chase scene on top of Mount Rushmore, a killing inside the UN building, as well as many other “grossly exaggerated” situations;

“To insist that a storyteller stick to the facts is just as ridiculous as to demand of a representative painter that he show objects accurately…We should have total freedom to do as we like, just so long as it’s not dull. A critic who talks to me about plausibility is a dull fellow…I don’t want to film a ‘slice of life’ because people can get that at home, in the street, or even in front of the movie theater. They don’t have to pay money to see a slice of life. And I avoid out-and-out fantasy because people should be able to identify with the characters. Making a film means, first of all, to tell a story. That story should never be banal. It must be dramatic and human. What is drama, after all, but life with the dull bits cut out.”
Alfred Hitchcock
Hitchcock: The Definitive Study of Alfred Hitchcock by Truffaut

Of course, the military leadership has to go on record saying that they aren’t looking for lone-ranger, hotshot cowboys on their bomb squads. And they probably don’t. But I image they realize  this will do a little for recruiting what the cocky, hotshot pilot Tom Cruise and Top Gun did back for Navy recruiting in the 80s. Bigalow and Boal have made rock stars of guys that risk their life to defuse bombs. (I read one reviewer who went as far as to say the movie felt like an Army recruitment film.) The movie hasn’t been seen any where near as much as Top Gun and flying a jet plane seems a little more glamorous, but I think that bomb disposal experts should be sending thank you notes to Bigelow and Boals because they have brought dignity and awareness to a job most Americans knew little about.

And if any bomb disposal experts in Iraq or Afghanistan read this, thank you for what you’re doing. I hope you come home safely soon.

And congrats to Bigelow and the whole Hurt Locker crew on the Oscar wins.

Related post: Pandora vs. Baghdad

Scott W. Smith

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“I don’t believe the American public will believe, itself, what comes up on that panavision screen next March.”
James Dickey in a letter to a friend
while the movie Deliverance was being shot

Since I mentioned both director John Boorman and Liberal Arts in the last few days that lead me to the writer of Deliverance, James Dickey. It took Dickey ten years to write the novel and he also wrote the screenplay for the 1972 movie that would be his only feature film release. (Though he did also write the TV version of Jack London’s The Call of the Wild.) 

Dickey was born and raised in the Atlanta area and was an athlete in high school and began writing poetry while serving in the Army during World War II flying combat missions in the South Pacific. He didn’t want the girls back home to forget him. After the war he attended Vanderbilt and earned a B.A. in philosophy and minored in astronomy and then went on to earn an M.A. in English.

After school he taught at what is now Rice University before being recalled to active duty in the U.S. Air Force due to the Korean War. He later worked as a copywriter in Atlanta and in New York where he said he was “selling his soul to the devil in the daytime and buying it back at night.”

He published his first book of poetry in 1960 and appointed in 1966 he as the Poet Laureate Consultant to the Library of Congress.  In 1977 he was invited to read his poem “The Strength of Fields” at President Jimmy Carter’s inauguration. And just to top off an interesting life, he played Sheriff Bullard in Deliverance. 

Though Dickey’s popularity exploded after the movie Deliverance was released he taught and wrote poetry until he died in 1997. His limited role with Hollywood  may have something to do with the stories of the behind the scene drama of the Deliverance location shoot that sometimes matched the drama on-screen of Burt Reynolds and his buddies little boating adventure. In short, Dickey was banned from the set.

Dickey was like many a classic southern writer – greatly talented and greatly flawed. Given to drink and sometimes hard to get along with Dickey was an exaggerator and liar on par with the father in the movie Big Fish. (While Dickey was in many flight missions over the South Pacific during World War II he was never the pilot he claimed to be.)

Dickey’s oldest son, Christopher Dickey, an accomplished writer and speaker (who also has a website and blog) , wrote the book Summer of Deliverance about his father and the film. (Christopher worked on the film including standing in as Ned Beatty’s character in the famous pig scene.)

Christopher also has done us all a favor by setting up the blog, James Dickey: Deep Deliverance, devoted to his father and his writings. And where I found this quote from a You Tube link where James says in a distinctly slow southern draw:

“To anyone who reads my work, I would like to have it deepen him and make him more aware of possibilities… of the mystery of things, and the strangeness of the creation — the universe. Although as much as I write about death, disease, and mutilation, and so I on, I essentially consider myself an affirmative poet. I remember hearing that Beethoven once said, ‘He who truly knows my music can never know unhappiness again.’ I would like to think it had some effect of that sort.” 

And as a side note here’s something interesting to ponder from one of Dickey’s letters, “I heard from John Boorman day before yesterday, and he says Marlon Brando is definitely going to play Lewis (Burt’s character) in the film version of Deliverance. I certainly hope so, for that would bring Nicholson in, and after that the rest would be easy, provided we don’t get Brando’s and Nicholson’s heads bashed in on some of those rocks up in north Georgia, which is quite easy to do.”

Scott W. Smith

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“There is many a boy here today who looks on war as all glory, but boys, it is all hell.
Maj. Gen. William T. Sherman
Speech circa 1880

 “All I know is what they taught me at command school. There are certain rules about a war, and rule number one is young men die. And rule number two is, doctors can’t change rule number one.”
                                                                    M*A*S*H, TV Program/Season One
                                                                   (Sometimes You Hear the Bullet)

Shortly after the attack on Pearl Harbour on this day in 1941 five brothers in Waterloo, Iowa walked into a Navy recruiting station and demanded that they all serve on the same ship.  Two months later all five bothers (George, Frank, Red, Matt & Al) were photographed on the USS Juneau and became a famous band of brothers.

Nine months later they were all killed in the South Pacific in the Battle of the Guadalcanal. You can imagine the scene when the news was delivered to their parents home on Adams St. where they raised their boys.

“War is hell” is the often paraphrased Sherman quote. And that hell is full of drama so it is not surprising that there have been so many war movies.

300px-fighting_sullivans

A movie on the five brothers, The Fighting Sullivans written by  Edward Doherty and  Jules Schermer was released in 1944 and nominated for an Academy Award for Best Story. (The Academy would later call the Best Story the Best Original Screenplay).

A similar story of eight brothers dying in the Civil War was the inspiration for Robert Rodat’s script Saving Private Ryan that would be nominated for 11 Academy Award and for which Steven Spielberg would win best director honors. (Private Ryan is from the fictious town of  Peyton, Iowa and I do not know if this is a minor tribute to the Sullivan Brothers who would of come up in Rodat’s research as he looked for a World War II angle.)

Just a few weeks ago The Sullivan Brothers Iowa Veterans Museum opened in Waterloo, Iowa. The 32,000-square-foot state-of-the art facility  is named after the five Sullivan brothers from Waterloo and honors the men and women who have served in the United States Military.

Since today is Pearl Harbor Day in the US  it seemed a fitting time to look at screenwriting and war. I guess I could have called this Screenwriting from Vietnam, Screenwriting from Germany or Screenwriting from Iraq.

There have been many great movies made dealing with war because it has everything I’ve covered over the year; Strong, meaningful conflict where larger than life characters deal with life and death decisions that have consequences greater than there own lives. Actions that could in fact change the world.

The upcoming Tom Cruise film Valkyrie  appears to be in this tradition. The Christopher McQuarrie and Nathan Alexander script centers around an assassination plot against Hitler. It would be hard to film a character in history that has been at the core of  more films, TV programs, and books than Hitler. Understanding evil seems to be one of our chief preoccupations. (When we’re not Googling Britney Spears.)

One of the first films I ever remember seeing in the theater was The Green Beret starring John Wayne and David Janseen.  (And for what it’s worth Wayne was born in Iowa and Janseen in Nebraska.)  By doing the math I was seven years old when that movie came out. I didn’t see the movie again for almost 30 years but there were scenes that I have always carried with me.

The first two were booby traps where soldiers are killed (one into  a wall of spikes, maybe I was too young to see this movie) and the other was the ending where a little boy goes looking for  Sgt. Petersen who befriended the boy. But Petersen has been killed and it’s heartbreaker (at least it was for a seven-year-old viewing it) as he runs from helicopter to helicopter yelling “Peter-san,  Peter-san!”

My boyhood friends and I had no real understanding of Vietnam but we loved the concept of shooting guns, rolling off a hill of sand pretending to be shot, talking on walkie talkies, and dressing up like G.I. Joe.  I think every boy at that stage of his life is a dramatist. Making up dramatic scenarios and living them out daily. One day they’re playing with stick that’s an old west gun, the next day it’s a Medieval sword, and the next day it’s a futuristic laser.

Fast forward to when I was in high school and  Apocalypse Now was released. That made me want to be a filmmaker and make sure I avoided going into war. Because of Vietnam  the majority of young people at that time didn’t get excited about joining the military until the movie Top Gun game out in 1986 where people signed up in record numbers once again proving the influence of Hollywood. (Ironically, Platoon came out that same year.)

Here is a partial list of some of the greatest war films:

Patton
All Quiet on the Western Front
From Here to Eternity
The Bridge on the River Kwai
Schindler’s List
The Sand Pebbles
Glory
The Dirty Dozen
Battleship Potemkin
Das Boot
The Caine Mutiny
Black Hawk Down
Henry V
Letters From Iwo Jima
Gone With the Wind
Battleship Potemkin
Ran
Zulu
The Last of the Mohicans
Braveheart

Some films have dealt with war from a perspective of humor or irony:
Stalag 17
M*A*S*H
Dr. Strangelove
Catch-22
Good Morning, Vietnam
Stripes
Private Benjamin
The General
The Great Dictator

And yet other films deal with the lingering effects of returning home from war:
The Deer Hunter
Courage Under Fire
The Best Years of Our Lives
First Blood
Coming Home

“Out in the Pacific they say he was the best,
now he’s in his civvies heading home like all the rest.” 

Jimmy Buffett
Sending the Old Man Home 

Just as there were stories that emerged after World War II I believe there will be a new crop of stories emerging from Iraq. Jarhead writer Anthony Swofford not only recounted his experiences from The Gulf War but earned an MFA from the University of Iowa.  The script for that movie was written by William Broyles Jr. who himself was a Marines in Vietnam.

So there will be more stories to tell from places far away from Hollywood. Stories than help give us meaning or at least a glimmer of humanity in a world that has been at war for thousands of years.

“The next wave of Hollywood filmmakers will undoubtedly include veterans who fought in Iraq and Afghanistan, and their values and empathy could alter the landscape of the filmmaking industry, even the world we share.”
Liz Alani
Script  magazine/ Real Men Write 

It’s my hope that this posts finds its way to Iraq and Afghanistan where a solider or two can read it and be inspired. Thanks to all the soldiers who have fought for this country over the years and have made it such a great place to call home.

Copyright 2008 Scott W. Smith


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