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The Iraq War is rapidly becoming the new interest for Hollywood films. Paul Haggis’ “In the Valley of Elah” concerns one family’s desperate attempt to adapt to the war and cope with just one of the tragedies it has caused.
The plot sounds like a typical crime drama. Tommy Lee Jones plays Hank Deerfield, an ex-Military Policeman, searching for his son Mike, who is AWOL from his unit, recently returned from a tour in Iraq. Hank, against the authority of both civilian and military police, undergoes his own investigation to find his son, with the reluctant help of fish-out-of-water cop Emily Sanders who is trying to make a reputation for herself among her misogynist peers, while raising her son single-handed.
It is when the remains of Mike are found burnt and decapitated, however, that the film leaves the realm of crime drama and becomes a moral mystery: a potent, angry, yet earnest and elegiac attempt to highlight the affect the war is having on the soldiers and even society back home. The film focuses not on the “who and how-dun-it”, but looks for answers to “why” such appalling things occur.
Instead of huge clichéd realisations, the facts of what happened to Mike are unhurriedly seeped into each beautifully shot scene (another gargantuan performance by cinematographer Roger Deakins). Throughout the film, Hank views video images from Mike’s mobile phone, the few times we actually see Iraq itself. They are jarred, rough shots of atrocious actions perpetuated by American soldiers, including Mike, that leave us, as well as Hank, wondering how any sense or meaning can come from such chaos. Alongside a mysterious phone call, Hank is increasingly tormented and haunted by what he sees, hears and discovers. These images emphasise how the war is having a corrosive impact on those involve as soldiers carry out horrific acts merely to cope with the carnage around them.
Tommy Lee Jones, with his weathered, craggy face and his economic, minimalist style, is quite simply perfect. With the slightest twitch in his expression he can convey so much raw emotion while hiding behind a resolute, militaristic façade. Sarandon as his wife, although underused, represents the wave of despair that Hank is trying to control; the grieving parent is left at home while determination is required to find the truth. It is with Charlize Therons’ Sanders, however, where my only quibble lies. She is far too glamorous for her role and struggles to keep up with the dominant Lee Jones.
This is in no way a flag-waving film. Hank’s American values and devotion are tested as he witnesses a corruption of the basest human morals. He slowly uses his military discipline (no longer making his bed with military precision) and the final message of the film is one of betrayed patriotism. The image of the American flag flying upside down, while certainly controversial to an American audience, is wonderfully poignant. As an international call for help it is a plea to the world: America is in distress.
The title comes from the biblical story of David and Goliath. We are left to wonder: is the American “Goliath” under threat from Iraq’s “David”? Or does David represent every soldier and civilian, where our bravery must prevail despite our fears?
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