Riding a motorcycle through a drainage tunnel is not recommended – unless you’re running for your life.
(2018) Documentary (Abramorama) Paul Conroy, Sean Ryan, Lindsey Pilsum, Marie Colvin, Wa’el, Edith Bouvier, Dr. Mohamed Mohamed, Remi Ochlik, William Daniels, Anderson Cooper, Janine Birkett, Julian Lewis Jones, Ziad Abaza, Nathan Dean Williams, Karine Myriam Lapouble, Anne Wittman. Directed by Christopher Martin
In this dangerous era when even the gathering of news has become politicized and reporters identified by national figures as “enemies of the people,” we need more than ever to remember the heroic nature of some journalists who risk their lives to report the news – and occasionally, give them.
American Marie Colvin remains today regarded as the finest war correspondent of her generation. She often went into places no sane person would willingly go to tell the stories of those who cannot leave – victims of genocide, civil war or governmental terrorism. She is credited with saving the lives of 1,500 people (mostly women and children) in East Timor in 1999, refusing to leave when other journalists fled, shining the light on what might have been an unspeakable act of violence by the Indonesian government who, faced with Colvin’s bulldog-like reporting, eventually backed down.
She lost her eye in 2001 covering the Sri Lankan civil war by a governmental soldier firing a rocket-propelled grenade launcher – despite crying out “Journalist, journalist!” which normally stops soldiers in their tracks. She would later claim that this one knew exactly what he was doing. Thereafter she wore an eyepatch which became something of a trademark for her.
Her frequent collaborator, British photographer Paul Conroy (Colvin by this time was employed by the Sunday Times of London) snuck into Homs, a city in Syria that had borne the brunt of dictator Bashar al-Assad’s genocidal fury as a stronghold for those wishing a democratically elected government in Syria. They were smuggled in via a drainage tunnel by anti-government activists including Wa’el, a translator for the team. The Syrian government to that time was refusing to allow reporters in Homs ostensibly for safety reason, but more likely because they didn’t want anyone to know that they were raining down a terrifying barrage of mortars onto civilian targets.
On the evening of February 22, 2012, the improvised media center was bombarded by explosive shells even as those who remained were planning to leave. Colvin and French photographer Remi Ochlik were killed in the explosion; Conroy and French journalist Edith Bouvier were both gravely wounded. With little in the way of medical supplies, the two journalists desperately needed to get out but things looked pretty hopeless for them.
Martin uses footage shot by Conroy, recreations and other sources to show the last days of Colvin and Conroy’s miraculous escape, as well as interviews with Conroy, Wa’el, Bouvier and journalist William Daniels who was also there, as well as interviews with Colvin’s editor Sean Ryan and colleague and friend Lindsey Pilsum. He also uses some of her television appearances, including her final broadcast from Homs being interviewed by Anderson Cooper on CNN the night before she died. It is likely that the Syrian government forces utilized her satellite phone signal to target the building, although Syria has to this day denied any involvement with Colvin’s death, asserting that it was a homemade terrorist bomb filled with nails that was the cause of the journalists’ death – a claim hotly disputed by Conroy.
We see the sometimes hard to watch footage of broken bodies and explosions bringing rubble onto the heads of those inside; we watch a nurse assisting Dr. Mohamed Mohamed (who remains in Homs today, treating those wounded in government attacks) realize that the baby she is treating is her granddaughter – and then the agony of having to watch the baby die because they don’t have the medical supplies needed to save her. It is these types of story that are Colvin’s legacy.
The movie is raw and sometimes unbearable. This won’t win any prizes for subtlety. At times it may seem a bit hagiographic but at the same time it also reminds us just how dangerous and non-glamorous war correspondence is, Hollywood’s best efforts to the contrary. The film also makes one wonder why the world hasn’t done something about Assad, a cockroach of a human being – well, that’s being perhaps a bit overly nasty to cockroaches – who should have been tried years ago for war crimes against his own people. It also makes anew the President’s claims against the media not credible.
The fact is that we need the media to keep us informed. How otherwise would we know about the genocide in Rwanda, the continuing crisis in Syria, the atrocities around the world that continue to go on year after bloody year. We justifiably salute first responders and the men and women of the military who put their lives on the line to protect our freedom and to save lives. Are reporters like Marie Colvin, Remi Ochlik, William Daniels, Edith Bouvier and Paul Conroy doing any less? Don’t they deserve that kind of respect? This film shows that they do.
REASONS TO GO: This is a true portrait in courage. It is almost like a Hollywood action film in places. Conroy’s account of his escape is absolutely incredible. The images are horrifying and certain to stir some fury at the Syrian regime.
REASONS TO STAY: The depiction of Colvin’s ultimate end is a bit clinical.
FAMILY VALUES: There is profanity and some disturbing images as well as depictions of violence.
TRIVIAL PURSUIT: In 2016 Colvin’s family filed a wrongful death lawsuit against the Syrian government, claiming that they had proof that the attack was ordered by the Syrian military.
CRITICAL MASS: As of 11/17/18: Rotten Tomatoes: 88% positive reviews: Metacritic: 73/100.
COMPARISON SHOPPING: A Private War
FINAL RATING: 10/10
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