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Posts Tagged ‘Aaron Paul’

When an issue becomes grist to the mill of popcorn action movies, you know it’s achieved a certain critical mass when it comes to public awareness. So when you consider that the director of the remake of Robocop announced the film was ‘actually’ about the use of drones in combat situations, the last Gerard Butler action movie was bookended by a couple of drone bombings, the signs are clear – this topic is up for grabs as far as film makers are concerned. (You can perhaps discern this from the way that Robocop attempted to discuss the ethical implications – in an admittedly cackhanded sort of way – while London Has Fallen just used it in a specious and un-thought-through attempt to give the film verisimilitude and sophistication.)

For me, the whole issue of drone strikes, drone bombings, call it what you will – it’s one of those things that happens, and which is clearly significant in the world, but which I have no personal influence over whatsoever. As a result I sometimes feel as though I’ve recused myself from having to have an opinion about it. One almost gets the sense that this is an attitude many governments would like to foster. Hoping to achieve exactly the opposite effect is Gavin Hood’s Eye in the Sky.

Eye-in-the-Sky

The use of drone strikes to eliminate terrorist suspects is an enormously big and complex issue, which Eye in the Sky humanises by starting with one very simple situation and letting the audience wonder what they would do if they had their finger on the trigger, figuratively speaking: a mixed group of American, British, and Kenyan terrorists are meeting in a house on the outskirts of Nairobi. They are being monitored by a mixture of British and American military figures, a group of UK politicians, courtesy of a Kenyan intelligence operative in the vicinity. It suddenly becomes apparent that the group are in the final stages of preparing for a suicide bombing attack. The house is in a neighbourhood controlled by the radical Al-Shabab militia, making the use of conventional forces impossible. The only way to stop the attack is to blow up the house using a drone – but a young girl is sitting directly outside it, selling bread, and she will most likely be killed in the blast. What would you do?

Helen Mirren plays the officer in operational command of the mission, and Alan Rickman is her superior, liaising with a group of government ministers overseeing the operation (Jeremy Northam is one of them). Aaron Paul and Phoebe Fox are the operators of the drone, and the ones who will actually have to pull the trigger. Barkhad Abdi is the Kenya intelligence agent on the scene. One of the distinctive features of Eye in the Sky is that most of these people don’t share any screen time together, their various interactions taking place entirely via electronic media – Mirren is in a bunker somewhere, Rickman is in Whitehall, Paul and Fox are in a US airbase near Las Vegas, Abdi is in Nairobi. The interconnectedness of the modern world is one of the themes of the film.

Most of the time this is a positive thing, as I’m sure most of us would agree, but it also means that a decision that once upon a time would have been left to soldiers on the scene is now open to scrutiny by higher-ups and politicians, as happens here. The situation in this film is perhaps a little contrived to achieve maximum complexity – there’s a change of mission objective, plus the fact that American citizens are targets, and the complication that it’s technically a drone strike against a friendly country – but not excessively so, and the tense wrangling between the various involved parties that ensues is utterly plausible and gripping. (Even if real-world politicians don’t worry about and discuss issues in quite this way, you would still like to believe that they do.)

The issues involved are of several different kinds – legal, political, and ultimately moral. But even then it’s not as clean-cut as that sounds – the decision as to whether a strike is legal is made by a politician, after all, while even ethical concerns seem to be getting warped by other considerations, such as whether a successful suicide bombing or excessive collateral damage from a drone strike would have the greater impact as a piece of negative publicity. Time and again the film returns to the fact that everyone, except those actually at risk of bodily harm in Kenya, is concerned about covering their own backside – the military need to be sure they are not legally culpable for any wrongdoing, the politicians need to ensure they are authorised by their superiors, and so on. (Here again the modern world intrudes – characters worry aloud about what will happen if footage from the drone ends up on YouTube, and so on.)

This may make it sound like the film is quite talky, and to some extent that’s true, but it never feels less than grounded and real. Partly this is because of the way Hood employs little details to sell the story to the audience – the fact the little girl’s parents have no ties to Al-Shabab and are surreptitiously giving her an education, the way that the drone operators have no idea about the arguments over how to proceed going on above their heads, and many others.

At one point it looks like this is going to be a film about how brave and dedicated soldiers are let down by self-serving political types – lions led by donkeys, again – but once more the film does not take the easy route – there’s a very uncomfortable scene in which Mirren basically bullies one of her own men (he is black, with an Arabic surname, and surely neither of these things is accidental) into manipulating his calculations of collateral damage down to an acceptably low percentage. Is she crossing the line, or simply doing what’s necessary to save dozens of lives? The film permits us to make up our own minds.

I personally did not feel this was a film with an axe to grind as to whether drone bombings are justified or not, but I can imagine how some people might find it a bit too sympathetic to the military-political establishment, who are presented as flawed but human. The film seems to me to simply conclude that this is a complex, complex issue entirely bereft of easy answers. We want our society to be safe, and yet we also want it to be just, and our elected officials and soldiers to be accountable, while still being able to do their jobs. If anything, the film suggests that we can’t reasonably expect all of those things. The final word goes to Rickman, whose final on-screen appearance this is, and he delivers it with all the subtlety and power you would expect from a performer of his calibre, aided by the script, which has been consistently thoughtful and precise throughout: technology may make warfare cleaner and safer (for some people at least), but it doesn’t make it easier. Eye in the Sky grips like a vice, while still managing to be moving and thought-provoking. One of the best two or three films I have seen so far this year.

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