Zero Dark Thirty – Review

30th January 2013

It’s almost impossible for anyone to separate the politics of the War on Terror from Katherine Bigelow’s Oscar nominated drama. The film certainly pulls no punches when it comes to the representation of real world events, from the chilling opening using voice recordings from 9/11 victims you know you are in for a rough ride.

First and foremost the film is in no way a glamorised depiction of the hunt for Osama bin Laden or the CIA operatives that carried it out. This is not an air punching salute to the American flag in the style of Michael Bay’s much derived Pearl Harbour. In the opening scenes of the film we are introduced to our main protagonists, our heroes, as they brutally torture a detainee. The camera does not pan away, we do not see a cell door close followed by muffled screams, we see in full the extent of the ‘harsh tactics’ and their effects on the prisoner.

This introduction to Jessica Chastain’s Maya and Jason Clarke’s Dan is bold to say the least. Usual Hollywood fair would introduce these characters within a family setting helping you identify and sympathise with them as the film goes on. Not here. Here we have the opposite effect, for the first third of the film I personally found it very hard to like or root for Maya.

This lack of empathy towards the character could be exactly what Bigelow and writer Mark Boal were going for. By presenting the facts, events and people involved in this story as dispassionately as possible the filmmakers have allowed the audience to draw their own conclusions. Much like William James (Jeremy Renner) from the Oscar winning The Hurt Locker, some audience members will consider the protagonist a hero others will consider her a dangerous and often arrogant anti-hero.

As the plot slowly unfolds it would be very easy to get lost in the technical jargon of the CIA characters as they meticulously sift through information, set up meets with informants and follow paper trails. However by keeping the focus on a central lead in the search (which Maya becomes personally obsessed with) Bigelow keeps a clear narrative that helps to tie together an incredibly complex manhunt with the tense final raid at the films climax.

The Hurt Locker proved Bigelow’s talent for building suspense and that talent once again shines her. The fact that the audience knows how events play out and is still on the edge of their seats during the films infamous finale is testament to the skill of the filmmaking on show.

Above all Zero Dark Thirty‘s greatest achievement is that it captures the essence of the War on Terror. From the minute details of intelligence gathering to the world changing horrific events that took place, Bigelow shows a sensitivity and frankness that will see the film endure as a drama documenting zeitgeist of the post-9/11 world. I saw the film in a small screen at a cinema less than 10 miles from the centre of London. When the image of a red double decker bus along with the date 7th July 2005 appeared on screen you could feel the atmosphere in the room change. The War on Terror continues to effect the lives of millions in one way or another. In Zero Dark Thirty audiences all over the world have an intelligent, honest and at times brutal thriller which will provoke debate and discussion for years to come.

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