The Friction of It All by Don Jaucian The Hurt Locker (2009) D: Kathryn Bigelow S: Jeremy Renner, Brian Geraghty, Anthony Mackie, David Morse, Ralph Fiennes, Evangeline Lily, Guy Pearce The burning fury of mankind: it’s a black hole that consumes us all. In the cold light of day, this is the chaos that threatens to erupt. And each day, we slowly release the tension by explosions; a vessel of our outrage and state of dissatisfaction. In Kathryn Bigelow’s The Hurt Locker there is the palpable sense of finality always hanging in the air, clinging to the dust, speaking in the faint bustle of the military routine. Death is just another girl waiting to cut the cord. You can see it in their tired eyes, the tension masked by their heavy garb. “War is a drug,” the opening Chris Hedges quote reminds us, and this is the blood that pumps through the film’s veins. After the air of well-meaning Iraq-themed films has died down, Kathryn Bigelow unleashes Locker, a potent war-drug that chronicles the daily encounters of a US bomb squad in an Iraqi town. It is not a political study so much as a critique of the evils of war and its ramifications. More than anything else, it is a psychological case analysis on the terrors that these men face as they go out in the field, realizing that every moment could be their last. At the core of this film is Jeremy Renner’s Sgt. William James, a steady yet troubled warhead who faces death in his own calm. He ignores orders, takes off his earpiece, and resolves the threat by marching down to the battlefield. Foolhardy and brave; like a constant shot of adrenaline, Sgt. James’s strong tenacity to defy orders is more than a sense of thrill or a perverted pleasure gratified by the agitation of the battlefield. It is more equated to a moral obligation, a steady complacency amidst the terror inflicted by the cruel clutch of these killing fields. Frantic, wildly paced, and harrowing, Locker may just easily take home the Oscar for Best Picture. No matter how relevant or intense Bigelow’s evocation is, it all boils down to the apolitical and the intrepid psychological course of kill zone probabilities.

The Friction of It All
by Don Jaucian

The Hurt Locker (2009)
D: Kathryn Bigelow
S: Jeremy Renner, Brian Geraghty, Anthony Mackie, David Morse, Ralph Fiennes, Evangeline Lily, Guy Pearce

The burning fury of mankind: it’s a black hole that consumes us all. In the cold light of day, this is the chaos that threatens to erupt. And each day, we slowly release the tension by explosions; a vessel of our outrage and state of dissatisfaction. In Kathryn Bigelow’s The Hurt Locker there is the palpable sense of finality always hanging in the air, clinging to the dust, speaking in the faint bustle of the military routine. Death is just another girl waiting to cut the cord. You can see it in their tired eyes, the tension masked by their heavy garb. “War is a drug,” the opening Chris Hedges quote reminds us, and this is the blood that pumps through the film’s veins.

After the air of well-meaning Iraq-themed films has died down, Kathryn Bigelow unleashes Locker, a potent war-drug that chronicles the daily encounters of a US bomb squad in an Iraqi town. It is not a political study so much as a critique of the evils of war and its ramifications. More than anything else, it is a psychological case analysis on the terrors that these men face as they go out in the field, realizing that every moment could be their last.

At the core of this film is Jeremy Renner’s Sgt. William James, a steady yet troubled warhead who faces death in his own calm. He ignores orders, takes off his earpiece, and resolves the threat by marching down to the battlefield. Foolhardy and brave; like a constant shot of adrenaline, Sgt. James’s strong tenacity to defy orders is more than a sense of thrill or a perverted pleasure gratified by the agitation of the battlefield. It is more equated to a moral obligation, a steady complacency amidst the terror inflicted by the cruel clutch of these killing fields.

Frantic, wildly paced, and harrowing, Locker may just easily take home the Oscar for Best Picture. No matter how relevant or intense Bigelow’s evocation is, it all boils down to the apolitical and the intrepid psychological course of kill zone probabilities.

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  1. professionalcrazy reblogged this from pelikula and added:
    2009, hands down.
  2. gelalalove reblogged this from pelikula
  3. pelikula posted this
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