At the
Movies
Summer redeemed by a couple of good movies
By JOSEPH CUNNEEN
For some years now, John Sayles has been making good, small (read
intelligent, politically aware, moderate budget) movies on everything from
unionizing coal miners ("Matewan") to last year's delicate "The Secret of Roan
Inish," and it was always a question whether they'd make it out to the
neighborhood mall.
Now, Castle Rock has released Sayles' "Lone Star," a
brooding, many-layered examination of a decades-old killing in a Texas town,
which won't outgross the boring summer spectaculars but has the scope and
passion to reach a mass audience. It's an exciting melodrama that also manages
to suggest a great deal about the burden of history. Its variety of musical
styles reflects the ethnic variety of its story.
Frontera is on the Rio Grande. Sayles makes a scene in a high
school history class conducted by Pilar (Elizabeth Pena) integral to both past
and present. Inevitably, the students learn of a long history of violence
against Hispanics and blacks, which is intimately connected to the movie's
central question: Who killed Charley Wade (Kris Kristofferson), the sadistic,
racist sheriff who disappeared in 1957 along with a lot of town money?
The investigation is conducted by the present sheriff, Sam Deeds
(Chris Cooper), who grew up in the shadow of his widely admired late father,
Buddy Deeds (Matthew McConaughey), Wade's former deputy. Sam is all too aware
that he was elected sheriff -- after being away from the town for some years --
on the strength of his father's reputation for fair-mindedness, but the viewer
is brought to wonder what his real feelings are as he vigorously investigates
the nearly 40-year-old crime in which Buddy is a prime suspect.
As always with Sayles, the movie tries to show how a whole
community operates. Many in the town, for example, resent Pilar's new history
curriculum and want to nourish heroic Texas myths that ignore past
slaveholding. Many resist the inclusion of Latinos in a proposed memorial
honoring veterans of the Korean War. There is almost too much plot, and its
various threads are not pulled together until the end.
Sam and Pilar, we gradually learn, were fond of each other in high
school, but both Buddy Deeds and Pilar's mother, Mercedes Cruz (Miriam Colon),
a Mexican immigrant who has gained bourgeois success, combined to break up the
relationship. Although this memory feeds Sam's continuing resentment of his
father, Sayles deliberately underplays his first meeting with Pilar since high
school. Much later in the movie, when she asks him why he returned to Frontera,
he surrenders his stoicism and says, "I came back because of you."
The troubled pattern of father-son relations is enlarged by the
presence of Delmore Payne, a by-the-rules black colonel in charge of the local
Army camp, who refuses to visit his father, Otis (Ron Canada), who walked out
on the family when Delmore was a boy. Otis now runs the local bar that caters
to black soldiers.
Delmore's rigidity has left him alienated from his own son, Chet
(Eddie Robinson), whom we first meet as an indifferent student in Pilar's
history class. Later, Chet visits his grandfather without Delmore's knowledge,
and Otis shows him his own private museum of black history.
Sayles is frequently accused of excessive moral earnestness. It's
true he insists on the significance of race and privilege in every aspect of
the town's life, but "Lone Star" shows he has learned to make his didactic
impulses serve overall dramatic purposes. At every turn, we are reminded of the
weight of the past.
Although there are so many characters that few have much playing
time, a surprising number are memorable.
The end of "Lone Star" comes with a shock. We see how the past
crime is tied up with almost everything that came before, but we may find it
hard to surrender our illusions or our preference for more conventional movie
solutions. As one character announces shortly before, "People liked the story
we told better than what the truth might have been."
The same line might have been appropriately repeated during the
central action of "Courage Under Fire," a big-budget production from
20th Century Fox that deserves its box-office success. A Gulf War movie that
simply assumes the rightness of American military action, its central struggle
goes on within the conscience of Lt. Col. Nathaniel Serling (Denzel
Washington), who gives an order during the heat of battle at Al Bathra that
results in the destruction of an American tank, killing men from his own
company. The Pentagon wants to bury the incident. Serling is given a desk job,
investigating the qualifications of those nominated for medals.
Denzel Washington gives a subtle performance that will surely win
him an Academy Award nomination. Without screaming or pyrotechnics, he shows us
a man obsessed with the lie he is forced to live, who begins to drink and even
stays away from his supportive wife (Regina Taylor) and children. When he
starts to write a letter of condolence to the family of a man in his company
who was killed, he is unable to finish it.
It is in this charged context that Gen. Herschberg (Michael
Moriarty) tells Serling to do a rush report on Capt. Karen Walden (Meg Ryan), a
medevac helicopter pilot who is a candidate for the Medal of Honor. The
general, who has been Serling's friend and mentor, explains that both the White
House and the Pentagon have a special interest in the case. They want, he says
wryly, "one little shining piece of something for people to believe in." The
presumption is that Walden died on the ground while trying to rescue some
soldiers, but Serling's own sense of guilt and understandable suspicion of
"official versions" of truth guarantee that he will carry out a thorough
investigation.
Cynics can easily say that everyone knows Hollywood isn't going to
use the first major movie about a woman officer to present Meg Ryan as a
coward. Audiences will find it suspenseful anyway, primarily because it's
Serling's story. We follow the gathering of contradictory evidence on the case
through his eyes. Director Edward Zweck and screenwriter Patrick Sheane Duncan
have obviously learned from Kurosawa's "Rashomon."
"Courage Under Fire" is no "Rashomon" -- it tries too obviously
for calculated emotions -- but it shows how difficult it is to sort out the
truth, especially under combat conditions. The device of having a Washington
Post reporter (Scott Glenn) conducting his own investigation of a Pentagon
cover-up seems somewhat contrived, but puts additional pressure on Serling, and
the reporter is useful in motivating later stages of the exposition.
Denzel Washington shows why he is one of the best actors around
today. Meg Ryan is also fine in the flashbacks that present alternative
versions of the long night in which Americans fend off an Iraqi attack. The
wife of a soldier who survived the battle refers to her as "butch," but the men
who served with her recognize her ability and commitment. In successive
flashbacks we observe the cockiness of a superbly disciplined woman in command,
a moment of tears, yet readiness to shoot even at her own men rather than let
them break and run.
But Serling is relentless. All the witnesses seem to be leaving
something out. What he (and the movie) is about is beyond considerations of
gender or race: the true meaning of bravery, and the necessity of facing up to
damaging facts.
Zwick and cinematographer Roger Deakins stage an impressive tank
battle in near darkness and easily convince us of the chaos of warfare. Their
ability to correct the impression that the Gulf War was only a matter of
computerized military hardware is less impressive, however, than what their
film tells us about individual integrity.
"Courage Under Fire" is ultimately a rather traditional movie that
celebrates the virtues of the military. Its strength is based on the clarity of
its convictions. Fortunately, it is not simply a celebration of American
supremacy, but concentrates on Serling's interior struggle and the painful
processes of moral growth. In this way it transcends the very kind of
exploitation the Pentagon and White House are calling on Serling to provide and
achieves a rousing and emotionally satisfying success.
After praising "Courage Under Fire" as a superior movie, however,
it is fair to recognize the limitations of its exclusively American
assumptions. Great war stories always find a way to recognize the humanity of
their "enemies." Obviously, there were no Meg Ryans among the Iraqi forces, but
as Serling came to a deeper reflection on what he had been through, should it
have been impossible for him to recognize that the Iraqis, too, showed courage
under fire?
Joe Cunneen is coeditor of Cross Currents.
National Catholic Reporter, August 23,
1996
|