At the cinema, 2008 was the year when it was hip to depart from the moral outrage any conscientious individual might feel about our countries’ on going illegal and immoral war 6,000 miles away. Light satire, be it of the buddy (Harold and Kumar Escape From Guantanamo Bay) or “five minutes in the future, things will be even more remarkably FUBAR” variety (War Inc.) were fashionable. Stop-Loss, much like last year’s ill conceived Lions for Lambs, luke warm Rendition and sneakily powerful In the Valley of Elah, was too sincere for most audience members and a large swath of critics’ taste. On the other hand, did we really need Morgan Spurlock to go looking for Osama Bin Laden? What if he would have found him? That might have been a beheading worth watching.
Thankfully the much-maligned documentarian Nick Broomfield, best known for his perpetual work-in-progress (i.e. shoddily constructed), Tragic Musicians of the 90s Docs Kurt and Courtney (1998) and Biggie and Tupac (2002), finally surfaced with a genuinely terrific film. His 2007 TIFF entry Battle for Haditha, a picture that, in perhaps the year’s biggest cinematic surprise given its author’s dubious track record and relative inexperience in the realm of narrative, is so eerily verisimilar that it puts much of what one could accurately call combat cinema to shame.
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I’ve always been conflicted by my hatred for war and my love for war films. But I can’t help being excited by cinematic combat. As Miguel Ferrer says in Hot Shots! Part Deux, “War … it’s fantastic!” Certainly his character is referring to the real-life action, but in a reflexive way he’s talking about war on film (he does break the diegetic space when he utters the statement, after all). And I have to say, in that context, no war film in recent years has been as fantastic as Nick Broomfield’s Battle for Haditha, which opened in New York yesterday.
The difficult thing about war films is that, despite often being exciting action movies, they’re about real, tragic situations, even if they’re fictional stories set in an actual war (the opening of Saving Private Ryan is of course the epitome of war films’ ability to be at the same time both affecting and awesome). Broomfield’s film has the additional difficulty of being about a real battle from a war that is still going on. And of course there’s that whole problem of Iraq War films being box office poison lately. But if the viewer is able to forget all that stuff, there’s a chance he or she will find Battle for Haditha totally exhilarating.
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