Under the Wire (2018)


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
NEXT:
To Kid or Not to Kid

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5 Days of War


5 Days of War

Another New York City marathon gets underway!

(2011) War (Anchor Bay) Rupert Friend, Emmanuelle Chriqui, Heather Graham, Jonathan Schaech, Andy Garcia, Val Kilmer, Richard Coyle, Rade Serbedzija, Dean Cain, Ken Cranham, Mikko Nousiainen, Mikheil Gomiashvili, Antje Traue. Directed by Renny Harlin

 

There is nothing good or noble about war. Men have waxed poetic about war and its virtues, but the truth of war is that it is savage and horrible, appealing only to the base instincts of men in reality – the need to take by force that which isn’t given freely. There is nothing noble about war.

War correspondent Thomas Anders (Friend) knows that better than most. The girl he loved (Graham) was caught in the crossfire during one of his assignments and left him alone and bitter. Then, a colleague, a cheerfully debauched Dutchman (Kilmer) points Anders in the direction of Georgia – not the state, the Russian republic – which was on the brink of war with Russia. The Georgian president, Mikheil Saakshvili (Garcia) frets and wonders why the West isn’t helping his tiny Republic take on the Russian juggernaut but the West is mostly focusing on the Beijing Olympics. Priorities.

Anders brings along his trusty cameraman Sebastian Ganz (Coyle) and manage to get in the thick of a wedding that winds up being scattered to the four winds when shelling interrupts the ceremony. They wind up hooking up with Tattia (Chriqui) whose sister’s wedding it was. She agrees to serve as their interpreter in exchange for them helping her locate and reunite with her family.

They witness the Russian army committing some atrocities and get it on film. The Russian commander Aleksandr Demidov (Serbedzija) gets wind of this and sends his brutal mercenary commando Danlil (Nousiainen) after them. Anders and Ganz get their footage onto a flash drive and try to escape to a place of safety where they can get their footage to the authorities. The trouble is, the authorities are corrupt and the major networks disinterested. Somehow Anders is going to have to find a way to make the world listen.

Harlin has directed some pretty nifty action films in his day including Speed but has hit a dry patch of late. This isn’t going to help him get back into the game to be honest. I understand that the film was at least partially financed by Georgia and the country allowed some of their military equipment to be used in the film and quite frankly part of the film’s highlights are the very realistically staged battle sequences.

However in a very real way that’s a deal with the devil; the film is certainly from the Georgian point of view with the Russians being loathsome monsters and the Georgians martyrs. The real war – and it was a real war – wasn’t like that. Like most conflicts, there wasn’t one villain and one hero although as with most conflicts both sides saw it that way.

Anyone who’s seen films like The Year of Living Dangerously will recognize most of the clichés about war correspondents in war situations. Whether or not they’re true (and for the most part they’re based in truth but like most Hollywood clichés made extreme) they still ring hollow here; it feels like a movie we’ve seen before only not as well made. Sure it’s not completely without value but it just feels more like propaganda.

When a film quotes “The first casualty in war is the truth” and then goes on to show only an aspect of it, two things happen – first, we are reminded that truth is often a matter of perspective. What one side considers unshakable fact the other usually considers to be an outright lie. Second, the filmmakers lose their credibility amid the further hypocrisy of trotting out Georgian survivors of war atrocities to tell their stories. At no point is any Russian allowed to refute any of this.

I’m not saying that the Russians didn’t do some of the things you see here – I have no doubt that they did. I’m certainly not excusing the behavior; it’s just that I don’t believe one side was made up of saints and the others sinners. The Georgians have their own culpability to bear here and we don’t get to see it, leaving the proceedings uncomfortably one-sided. A little more honesty would have made for a better movie.

WHY RENT THIS: Realistic war action.

WHY RENT SOMETHING ELSE: One-sided to the point of ridiculousness. Overwrought and cliché.

FAMILY VALUES: Lots of war violence and bad language but there are also some scenes of war atrocities that might be a bit too intense for younger and more sensitive viewers.

TRIVIAL PURSUIT: Early on President Saakshvili can be seen chewing on his tie; this was based on an actual incident in which the real President Saakshvili was accidentally caught on-camera when he didn’t think that it was filming munching on his tie. The footage can still be found on the Internet if you Google it.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $17,479 on a $12M production budget; even those without math skills know this was a box office dud.

COMPARISON SHOPPING: The Bang Bang Club

FINAL RATING: 5/10

NEXT: Meet the Parents