This is a different thriller from most; the
tension is mostly in the inaction
rather than the action. Helen
Mirren is the no-nonsense Colonel Katherine Powell in London and in direct
command of the U.S. drone operators who are waiting to pull the trigger on a
target in Kenya. She is logical
and decisive while still being compassionate, unlike some of her superiors who
cannot seem to think through problematic situations and come up with a
plan. Clearly, many of them have
sat at a desk through most of their careers. That is unlike Lieutenant General Frank Benson (Rickman), however,
who immediately comprehends Powell’s reasoning and is prepared to give his
authorization of a strike. He is a
military man. It is the political
officials who may not have had direct experience in war who struggle with
making a decision.
There are agonizing moments as we watch two
suicide bombers get fitted with their vests while we wait for multiple
authorizations (these have been “kicked upstairs” or over to U.S. officials to
avoid personally taking responsibility).
Since this is spur-of-the-moment, many of the authorities are otherwise
occupied, and are stunned about making such a decision at all, much less on the
fly. The salient issue has to do
with weighing the cost of one innocent casualty versus the potential of killing
80 men, women, and children. It
becomes much more potent because everyone can see a particular little girl who
could be caught in the explosion.
It is instructive for nonmilitary people to see
the kind of agony that decision-makers must go through during a war—especially
the newly appointed and young drone operators. In this instance, it is just as agonizing for the audience
to sit through long sequences waiting for the higher-ups to make up their
mind. And we have to listen to
considerations that have more to do with political fall-out and “covering one’s
butt” than humanitarian and ethical concerns, which makes it even more
nerve-wracking.
During and after this long process,
instructions are given as to how to report the incident, and the quote at the
beginning of the film becomes applicable:
“In war, truth is the first casualty” (Aeschylus).
Director Gavin Hood and writer Guy Hibbert have
created a fine picture of substance that will grab your attention and pull you
right in with the feeling of being a part of the action. They shed light on the new arena of drone
warfare and help us understand some of its complexities. The cast is part of the excellence of
the film, headed up by the ever-perfect Mirren who seems to be able to
convincingly play any role. She
and Rickman (May he rest in peace) make a good team, in sync with one another
in timing and emotional space.
Aaron Paul subtly evinces the conscience-ridden drone operator who has
no experience in actual “kills”, and knows enough about the law that he can
request reconsideration of an order.
Barkhad Abdi reprises his role as a Somalian (Captain Phillips), but this time he is one of the good guys—well
played.
Eye in the Sky will make you squirm and
groan about wartime decision-making.
No comments:
Post a Comment