Ah, interminable wars waged by hegemonic powers in the Middle East! They’ve been the cause of unfathomable amounts of human suffering for centuries, but on the other hand, we’ve gotten some really good movies out of them. Lawrence of Arabia, The Beast of War, The English Patient… maybe it is home to the graveyard of empires, but it sure is good for showbiz.
All right, maybe I’m being a bit cynical and snarky here, and that’s something I try to avoid doing, but Whiskey Tango Foxtrot is a war comedy-drama, so there’s inevitably a gallows humor quality to it.
The film follows journalist Kim Baker, (Tina Fey) who quits her desk job writing news scripts to cover the United States’ invasion of Afghanistan.She’s embedded with the Marines, and, after initially being perceived as a bumbling civilian, gradually wins the respect of the unit and its commander, as well as veteran reporter, Tanya Vanderpoel. (Margot Robbie.)
Slowly, Baker gains the trust of important officials in the Afghan government, and, with the help of her guide and translator Fahim, (Christopher Abbott) gains a better understanding of their culture. She also starts a romantic relationship with journalist Iain MacKelpie (Martin Freeman) after breaking up with her stateside boyfriend.
Ultimately, Baker is forced to use all her wits, contacts, and knowledge of Afghan politics in order to save not only her career, but her lover’s life. And she is forced to come face-to-face with the horrors of war, as she interviews a young soldier badly-wounded after an IED attack.
I went into this film with low expectations. I like Tina Fey and Margot Robbie, but wasn’t expecting it to be anything more than “Liz Lemon goes to Afghanistan.” And that’s what it seems like at first.
But over the second half, nuances emerge. The characters show unexpected depth and nuance. As I said, I’ve always liked Fey’s comedy, but I gained new respect for her skill as a dramatic actress. As the CineMuseFilms review put it, “she nailed her part” by not playing it solely for laughs. Billy Bob Thornton is great as the commanding Marine officer, and Christopher Abbott’s performance is absolutely fantastic. His character’s friendship with Baker is one of the highlights of the film—frankly, I found it to be the real emotional core of the story, much more so than the romance thread.
There’s one dialogue between Fahim and Baker in which he warns her that she’s becoming addicted to the adrenaline rush of mortal danger. It’s a moment of real tension in their friendship, and a dramatic turning point in the film.
I mention it because addiction to the thrill of war was also the theme of the film The Hurt Locker, which is about a bomb disposal squad in Iraq. That film won the Oscar for Best Picture in 2010. Personally, I found Whiskey Tango Foxtrot to be a vastly superior war film compared to TheHurt Locker, and this more economical portrayal of the same basic theme is only one of many reasons why.
Whiskey Tango Foxtrot has humor, but never at the expense of characterization. It shows both the horror and the heroism that every war entails. It ended up being a far more thought-provoking film than I was expecting. I’m now curious to read the book on which it was based, The Taliban Shuffle by Kim Barker.
My dad has told me for years I have to read this book, along with another of Roberts’ novels, Oliver Wiswell. Well, Wiswell isn’t on Kindle, but Rabble in Arms is. So the choice of which to buy seemed obvious, although as it turned out, it might have been better to go with a physical copy–more on that later.
Rabble in Arms is set in the early years of the American Revolution, and is told from the perspective of Peter Merrill, an American patriot and merchant who joins the rebelling colonists.
Peter’s brother Nathaniel also joins, but is constantly distracted by Marie de Sabrevois, a beautiful but devious woman who is obviously (to everyone except Nathaniel) a spy for Britain. Peter himself falls in love with her niece, Ellen.
Repeatedly, Peter is thwarted in his efforts to court Ellen by the actions of de Sabrevois, and likewise his attempts to look after his brother are thwarted by the same. Well, that, and the war gets in the way too, as the Americans–represented by a colorful cast of supporting characters, highlighted by the one-dimensional-but-still-funny Doc Means–continually find themselves struggling against the mighty British Empire, thanks to a blundering, out-of-touch Congress and a number of incompetent, bureaucratic officers.
Patriot officers are depicted as a pretty worthless bunch in Rabble in Arms, with one significant exception: General Benedict Arnold. Indeed, it became pretty clear early on that Peter’s romance with Ellen, and Marie’s seduction of Nathaniel, and all the antics of Doc Means and the other supporting characters, are just filler sub-plots. What Roberts was really out to do with this book was rehabilitate General Arnold’s image. (Peter at one point tells the reader, “It has not been my purpose… to tell the story of Benedict Arnold.” But he’s lying.)
And frankly, it seems like Roberts has some legitimate points. How many people know that Arnold was wounded fighting for the Americans in the invasion of Quebec? For that matter, how many people know the Americans invaded Quebec? The aftermath of this invasion forms the first act of Rabble in Arms, and Arnold’s heroics are the highlight. The fact that the action was a defeat for the revolutionaries is laid at the feet of other officers.
Likewise, in the American retreat, Arnold is portrayed as a master strategist and brave warrior. Presumably, Roberts made his fictional narrator a ship captain so he could have a front row seat for Arnold’s feats of daring at the Battle of Valcour Island.
Roberts seems to be on firm factual ground here. Wikipedia (As my statistics teacher used to sarcastically call it, “the most valid source ever.”) summarizes: “The invasion of Quebec ended as a disaster for the Americans, but Arnold’s actions on the retreat from Quebec and his improvised navy on Lake Champlain were widely credited with delaying a full-scale British counter thrust until 1777.”
After Valcour Island, our heroes are captured by a tribe of Native Americans, who later turn them over to the British, who then turn them back over to the Native Americans again. If anyone is wondering how the Native Americans are portrayed, I guess I’d say, about like you’d expect from a book written in 1933.
All the characters who aren’t actual historical figures are basically stock caricatures. The only two female characters who say anything of substance are the pure, sweet, innocent Ellen and the evil, manipulative temptress Marie. The Madonna/Whore complex is strong with this one!
After more misadventures, one odd interlude with a captured Hessian soldier, and more problems caused by Marie, Peter makes it back in time to witness Arnold win the battles of Saratoga, despite being stripped of official authority by the bumbling General Gates.
Again, Roberts has the facts on his side here: Arnold indeed performed bravely at Saratoga, and was again wounded–shot in the same leg as in Quebec.
The penultimate chapter is a summary of why Peter will always defend Arnold, in spite of his subsequent treason. Indeed, Peter (who is clearly acting as a surrogate for Roberts here) even defends Arnold’s betrayal, arguing that Arnold came to view Congress as a greater threat to the United States than the British Empire.
While I was doing research for this review, I came across something interesting: Benedict Arnold’s open letter “to the Inhabitants of America.” That’s right; back in 1780, shortly after his betrayal, Arnold tried to explain himself to the people he’d just sold out. I recommend reading the whole thing. But here’s the key bit:
I anticipate your question, Was not the war a defensive one, until the French joined in the combination? I answer, that I thought so. You will add, Was it not afterwards necessary, till the separation of the British empire was complete? By no means; in contending for the welfare of my country, I am free to declare my opinion, that this end attained, all strife should have ceased…
…In the firm persuasion, therefore, that the private judgement of an individual citizen of this country is as free from all conventional restraints, since as before the insidious offers of France, I preferred those from Great Britain…
If we take Arnold at his word–which admittedly is a dangerous thing to do with the most infamous traitor in history–he was defecting because he didn’t like Congress making an alliance with France. That’s pretty ironic, considering it was the Arnold-led victory at Saratoga that persuaded the French to enter the war.
Throughout Rabble in Arms, Peter makes repeated reference to the Continental Congress giving undeserved military ranks to French officers, passing over more qualified Americans to do it. He doesn’t explicitly connect the dots between that and Arnold’s betrayal too closely, but the pieces fit.
(For what it’s worth, the most famous Frenchman to fight for the American colonies, the Marquis de Lafayette, went to France to secure military support for the Americans in January 1779. Arnold set the wheels of his betrayal in motion in May 1779. Make of it what you will.)
I’m not saying it’s accurate, but Roberts laid out a plausible case here: Arnold feels Congress is overlooking him. Congress is casting their lot with the French. Arnold doesn’t like Congress, and he doesn’t like the French. So, he thinks America is better off negotiating with the British. Arnold was perhaps the first (but not the last) American patriot who believed he had to fight the government in order to save the country!
Arnold wasn’t just betraying Congress. He was betraying the men who had fought with and for him, and the families of the men who died for him. He was betraying the trust Washington had shown in him by giving him command of West Point. (While Arnold was generally disliked and unpopular among his comrades, Washington seems to have been one of the few people who actually liked and respected him.)
This is where the “Arnold-had-to-betray-America-in-order-to-save-it” theory breaks down a bit, and other possible reasons for his betrayal start to loom large.
Despite his best efforts, Roberts’ novel comes up short in persuading me that Arnold’s treason was justified. Arnold was no doubt a brave soldier, and quite possibly a brilliant strategist. He may well have been badly treated by men not half as skilled as he was. But I just can’t buy the conclusion that Arnold did it, as the narrator claims, “to fight a greater threat than England.”
So, Rabble in Arms doesn’t fully succeed as pro-Arnold propaganda, but it makes a solid effort. Arnold gets all the best lines, and when he’s not around, I found myself longing for him to get back into the story. The rest of the book is pretty standard historical adventure type stuff, though it’s not without its charms. Roberts could make the occasional keen insight. For instance:
“The vainer a man is, the tighter he clings to his preconceived notions; he’s afraid of someone accusing him of changing his mind, which would show he hadn’t been the all-wise possessor of all knowledge from the moment of his birth.”
All in all, it’s a decent book if you like historical fiction and can stand a tale that takes a–well, let’s just say, a very old-fashioned approach to portraying its non-white and female characters. It’s actually pretty mild by the standards of its time, really. I’ve read other books from the period that just ooze racism and misogyny; this is more patronizing.
And now, a word of caution for those who buy it on Kindle, as I did. Whatever software they used to scan the pages of the physical copy to make the electronic version has some flaws. Quite often, a word was misinterpreted by the scanner, and an incorrect word inserted in its place. It was usually possible to figure out the correct word from the context–“lie,” for example, was throughout rendered as either “he” or “be”–but this got annoying after a while. I could never be sure if some characters’ names were really what they appeared to be. It would have actually made for an interesting meta-literary device had it been done intentionally and in another context–I was always second guessing what I read, like an unreliable narrator story.
I wouldn’t say this ruined the book for me, but it was irritating, and some readers may prefer to spring for the physical version and avoid the hassle of things like figuring out that when a character appears to say “TU he,” what he’s actually saying is “I’ll lie.”
I can’t help myself; I have to write about this. I know there’s probably no point, but I am going to do it anyway just in case. Immediately after this, I’m going to post some Christmas videos to make up for it.
On Wednesday, President Trump announced that the U.S. will withdraw troops from Syria. Immediately, hawks in both parties attacked the decision, arguing that it will allow ISIS to regain strength. Many of Trump’s usual allies argued for keeping the troops there longer, and urged him to reverse the decision so ISIS can be defeated.
Here’s my problem with this: the reason ISIS is a household name is because of U.S. military intervention in Iraq. When we installed the new Iraqi government in ’03-‘04, we threw all of Saddam Hussein’s underlings out of power. This was called “de-Ba’athification”, because they were all in Saddam Hussein’s Ba’ath party, but it might as well have been called “de-Sunnification” because they were all Sunnis.
As a result, we had a bunch of Sunnis who were exiled, armed, and extremely mad at us and at the heavily Shia government we installed.
Hey, Foreign Policy wonks! Can you guess what happened?
So now the military-industrial complexforeign policy experts say that we need to keep intervening militarily in a foreign nation to prevent atrocities being committed by a group that exists because we intervened militarily in a foreign nation to prevent atrocities.
Look: I’m all about preventing atrocities. I really am. If the most powerful military in the world can’t be used to protect innocent people from evil ones, then what’s it good for? It’s just that I want to hear one of the people currently urging a continued military action explain why this won’t end in a massive disaster like the last one did.
And no, Senator Rubio, I don’t want to hear that “the military advised President Trump not to withdraw.” Of course they did! They’re the military! When all you have is a hammer, everything looks like a nail, and when all you have is the most powerful fighting force in history, everything looks like it needs to be occupied by it.
I don’t blame the military commanders for opposing withdrawal. But unless they can give a definitive timeline—“e.g. we will achieve victory in Syria in one year or you can fire all us generals”—they can’t be given the final say on this.
A lot of people will say Trump only did this because his policies mysteriously seem to align with Vladimir Putin’s on every issue. But you know what? “Trump-is-a-puppet” is not in itself a valid criticism. If he does the right thing for the wrong reasons, it’s still the right thing. So if you want to keep the troops in Syria, don’t tell me that a withdrawal benefits Putin. This isn’t a zero-sum game where every action that helps Russia is an automatic loss for the USA.
The folks in the upper-echelons of government still don’t seem to get that the reason so many people voted for Trump was that they were furious at the mistakes the government had made over the years—the mismanagement of the Iraq invasion being one of the biggest examples. If they want to win back their credibility as experts—and with it, the awesome and terrible power of commanding the United States military—they need to prove that they have learned from their mistakes.
One last note: I’ve seen a number of people complain that a U.S. withdrawal from Syria makes Israel less safe. In my opinion, this is a pretty glass half-empty way to look at it. Yes, it’s true that now Israel will have lost a big ally fighting Iran in the region. But I’m not sure that U.S. participation automatically makes things safer for them. Again, look at what happened with Iraq. Is Israel really safer now that there is a massive terrorist group inadvertently created by the U.S. intervention in Iraq running loose?
The U.S. government is a bloated bureaucracy, led by an ever-rotating cast of characters who change every two to four years, and constantly want to drastically shift policy direction, which is a bit like trying to race an 18-wheeler on a Formula Onetrack. Most of the people involved are well-intentioned, but the result tends to be that U.S. government intervention causes chaos rather than stability.
If we’re going to stay and fix the mess in Syria, we have to do it the right way: figure out who the enemy is, have Congress formally declare war on them, institute a draft, and use the full power of the military to defeat them. That was how the United States won its greatest victories, achieved superpower status, and made itself synonymous with Liberty across the globe. Unless we’re willing to do as much again, we will cause more problems than we solve.
In the days before CGI, epic war films were massive and costly undertakings. You wanted a shot of 10,000 guys marching across a field in full battle uniform? Well, you had to get them! You couldn’t just have Johnny the Computer Whiz draw them in after the fact.
As in actual warfare, there are innumerable logistical difficulties with re-creating these battles. You’ve got to have men in position, knowing how to use their equipment, and then film them as they maneuver in the field.
All that’s quite hard enough. But when you are making a film for wide release, you have to have all that plus a story the audience can follow, structured so as to play out in a coherent and satisfying way over the course of two hours.
It’s this last bit that’s really tricky, because while history offers plenty of incredible and compelling stories, they rarely fit into neat three-act schemes that can be concisely portrayed in a couple of hours.
Waterloo starts out well, showing Napoleon’s abdication to Elba in 1814 and subsequent return in 1815. Especially memorable is the moment when the Emperor walks alone to face his former soldiers, now under orders to kill him, and through sheer bravery and charisma wins them back over to his side. This is one part of the Napoleonic legend that seems made for the movies, and it certainly is a high point of the film.
After that, however, problems arise in this dramatization of the final chapter of Bonaparte’s career. There are unnecessary voice-overs in which Napoleon (Rod Steiger) thinks in exposition for the benefit of the audience. Many lines of dialogue uttered by officers on both sides seem like they were lifted from history books and changed to the present tense.
An inordinate amount of time is spent on Wellington’s staff at the Ball hosted by the Duchess of Richmond. This scene also includes the introduction of a totally fictional and pointless love story that goes nowhere. The only upside is the chemistry between Wellington (Christopher Plummer) and the Duchess (Virginia McKenna).
The film dwells on things like this, Napoleon’s illness, and some peculiar episode involving a British soldier stealing a pig, and yet glosses over incidents like the Battles of Quatre-Bras and Ligny with a couple lines of dialogue.
It’s not that the film is inaccurate–indeed, they seem to have gone to some lengths to describe things in historically correct fashion. (Except for the romance and a reminiscence about Major-General Ponsonby’s father) The problem is that the film depicts these events in a strange and sometimes incoherent manner.
The biggest technical flaw is probably the mud. The battle was famously delayed by wet ground after a rainy night, and indeed the film states this correctly. Where it falls down is the fact that the ground we see on screen is demonstrably dry, as evidenced by the huge clouds of dust kicked up by the columns of cavalry and infantry.
The end result is the comical visual of a frustrated Napoleon sinking in an obviously artificial mud puddle while all around him is a vast expanse of dry land. The fundamental historical fact is correctly depicted, but not in a dramatically effective way.
There are lots of issues like this. After Marshal Ney’s ill-fated cavalry charge against the famous infantry squares, Napoleon rushes back to the field from his sickbed, crying, “What is he doing? Everyone knows not to make a cavalry charge without infantry support!”
While completely factually accurate, this seems unlikely to be what Napoleon actually said at the time. It comes across as a line delivered for the benefit of audience members who aren’t familiar with the battle of Waterloo.
And this is the other difficult thing about making historical movies: balancing the history lesson aspect with the need to depict real characters, as opposed to instructional puppets designed to illustrate a historical lecture.
Chances are, if someone is watching the movie Waterloo, they are already a Napoleonic history fan. Sure, there might be the occasional viewer who is an ardent follower of Rod Steiger or Christopher Plummer, but if I were overseeing the production, I would make the executive decision that any viewer who doesn’t already know how the battle went is just going to have to piece it together as best they can–no reason the script should go out of its way to help them out.
Despite all of that, the movie isn’t horrible. As an instructional device, it is not bad, and there is something inherently impressive about seeing huge lines of soldiers and horses advancing across a smoky field. It gives you some vague hint of what it might have felt like to be in the battle.
It’s just that the film lacks a dramatic narrative. Napoleon and Wellington don’t “come alive”; they just repeat their famous quotes and stoically watch the battle. Because of this, it feels more like a recording of an elaborate re-enactment rather than a truly epic historical drama.
It’s not a coincidence that Bannon got removed from the NSC and two days later, Trump orders missile strikes that Bannon and his “alt-right”/”America First” crowd oppose.
My question is: did Trump simply become outraged because he saw the pictures coming out of Syria, and decided he didn’t care what Bannon said? Or is this the result of Trump’s long-term dissatisfaction at the series of apparent failures spearheaded by Bannon?
Or is it that Trump is now listening more to his daughter Ivanka and her husband Jared Kushner than he is to Bannon? (Possibly as a result of said Bannon-led failures?)
There are a number of different explanations, all of which suggest that Trump is pretty impulsive and won’t hesitate to radically change his mind in short order.
But of course, that goes both ways. If Bannon can get thrown in the doghouse this easily, he can get pulled back out just as quickly. And that’s the main takeaway for me: Trump acts quickly–some would say decisively, others would say recklessly. Even his apparent friendly relations with Russia couldn’t quell his desire to take action in Syria. It must have really been important to him, because it meant reversing one of his core campaign positions, and losing a lot of his most zealous supporters.
When I was in college, I took an elective course called “Introduction to Military Intelligence”. It was one of the best courses I took during my four years in college. The teacher was a retired Army Major, and a very nice guy. (Our first day, he made the old joke about military intelligence being an oxymoron.)
One of the big things I remember him saying was that “the bad guys always have a tactical advantage”. I’d never thought about it before, but it’s true, and it’s something counter-terrorism and intelligence officers have to contend with.
Bad guys are people who attack other people. Good guys are just minding their own business, not looking to hurt anyone. That’s one of the things that differentiates good from bad. This means, among other things, that the bad guys know when they are going to attack and how, and so always have the element of surprise on their side. The good guys are forced to be reactive and defensive, which is a tactically bad position to be in.
Now, there are lots of quibbles or counter-arguments you can make about this, as well as arguments over what constitutes a true “attack” (e.g. “weren’t the good guys ‘attacking’ at the invasion of Normandy?”) The larger point, though, still holds–bad guys are usually on the attack, and as such have an advantage.
So, what to do about it?
The solution most good guy nations came up with is to have people on stand-by, watching for and guarding against attacks by bad guys. This works pretty well, but they are still operating at a disadvantage because they usually don’t have first-strike capability.
It’s also important to note the difference between “tactical” and “strategic”. Tactical stuff is on a smaller scale, meaning one battle or one individual action. Strategic is a longer-term, big-picture thing. So, it’s possible to be at a tactical disadvantage but a strategic advantage, and vice-versa.
But because most polls said otherwise, and because most experts thought it was impossible, and because of all the appalling things Trump has done and said, I went with the conventional wisdom and assumed the charisma theory wouldn’t apply.
Instead, it was vindicated.
I had the following exchange on Twitter with Paul Graham, the entrepreneur and venture capitalist who wrote the original essay that introduced me to the charisma theory of politics:
I know I’ve said it a million times, but read Graham’s essay. Parts of it are prescient:
The charisma theory may also explain why Democrats tend to lose presidential elections. The core of the Democrats’ ideology seems to be a belief in government. Perhaps this tends to attract people who are earnest, but dull. Dukakis, Gore, and Kerry were so similar in that respect that they might have been brothers. Good thing for the Democrats that their screen lets through an occasional Clinton, even if some scandal results.
The blind loyalty felt by the devotees to their political messiahs is something which fundamentally alters the nature of the political conflict. And it is this, I believe, which drives the oft-bemoaned lack of “civility” and “moderation” in today’s discourse. Cults are not rational, but emotional.
What makes this all the more troubling is not that it is a corruption of the democratic system, but rather that it seems to be the logical conclusion of it. The average voter, after all, cannot really be expected to keep up with the nuances of the issues. To do so requires too much time…
…So I think we must resign ourselves to the fact that charisma–and the resultant cults of personality–are going to be the driving energy of our political system for the foreseeable future. The best we can hope for, at this point, is probably that our elected leaders will not abuse their charisma. Given the corrupting influence of power however, that seems unlikely.
The point here is that even people like me and Graham, who had devoted a lot of time and thought to how this sort of thing could happen, failed to realize it even as it was happening.
Of everything I’ve written about politics, I suppose this post was the most explicitly relevant:
The only charismatic Republican I can think of is too undisciplined and arrogant to organize an intelligent campaign. The reason they are always going on about Reagan is because even after all these years, they have never found anybody half as charismatic as him to sell their contradictory policies.
But all the same, if they do manage to scare up somebody half-way likeable, the former Senator and Secretary of State will have a hard time winning. Especially since history suggests people will be reluctant to elect another person from the same party that has controlled the White House for the previous eight years.
The Republican I was thinking of was Palin. Trump wasn’t even on the radar at that point.
And, as it turned out, being undisciplined and arrogant was no hindrance to running a successful campaign.
That said, the truly arrogant ones here were political analysts–including myself–who refused to believe in what we were seeing; who stubbornly clung to the notion that a candidate as obnoxious and scandal-plagued as Trump could not win, even after he proved us wrong once.
If I had simply been honest with myself about how Trump’s campaign corresponded to everything I knew about how politics works, maybe I would have been more vocal about the surprisingly high probability he would win. And that might have motivated more people on my side to do things differently.
Paradoxically, if more people had believed he could win, his chance of actually winning probably would have declined.
I remember when I was 15 years old reading in a book of military history about how, at the Battle of Waterloo, Napoleon ignored some of his own long-standing tactical rules, leading to his defeat. At the time, I made a mental note that ignoring one’s own beliefs was usually a bad idea.
The warfare analogy is pretty apt in a larger sense, too. Trump’s campaign resembled a lot of successful military campaigns throughout history, in the sense that it won by being smaller and more able to change and adapt quickly than its larger, better-funded, but also more conventional opponent. (This is also the same logic that leads to small startups defeating big corporations.)
Finally, the Trump campaign won by challenging conventional wisdom and proving it wrong. Nearly all professional political strategists took for granted that you couldn’t win by appealing to nationalist sentiments. Trump’s campaign challenged that idea, and proved it incorrect.
I’ll have much more later. This is going to require a lot of work.
One of the things I like to do in my spare time is watch history videos online. I like the ones that I can cue up and then do something else (e.g. cleaning) while listening to the narration. Audiobooks are also good for this. My first preference would be to just read about the stuff, but often I’m just too busy.
Strangely, some historical incidents–especially battles–have tons of videos made about them, and others have next to nothing. For instance, there are plenty of documentaries about the Battle of Marathon, but almost none about the Battle of Plataea.
[WARNING: This post contains spoilers for all four of the things mentioned in the title.]
About five years ago, I read Joseph Conrad’s novella Heart of Darkness. Then, last year, I played Spec Ops: The Line and Far Cry 2, which are based in part on that book. And then, yesterday, I watched Apocalypse Now, the 1979 movie also based on that book, and which influenced both of those games.
As you may know, it has long been my contention that video games are an art form on a par with books and film. And of these four works, it is my belief that one of the games–Spec Ops–is the best. That said, it is also the most recent, and it uses the expectations built by the preceding tales to weave its narrative.
To begin with, I didn’t really like Conrad’s novella that much. It wasn’t awful, but I didn’t see what was so great about it. So there’s this guy, Kurtz; and this other guy Marlow, has been sent to find him in the Congo. But, turns out, he’s gone nuts and is dying. And the reason this happened to Kurtz is because being in the Congo was brutal, and he couldn’t take it.
It was never clear to me what the point was. I guess it was that it was no fun being in the ivory business in the Congo, and that colonialism was awful, both for the colonized and the colonizers. Well, yes–and I suppose that was more of a shocker in the era when “colonialism” was not a dirty word–but I didn’t really see any major moral depth to it.
Apocalypse Now is an adaptation of the story, set in the Vietnam War, in which Marlow is named “Willard” and has been sent by the U.S. military to assassinate Col. Kurtz who has gone mad. And so he does.
A big problem I had with the movie was that it is really thin. In the first 10 minutes, we are told that Kurtz is insane and ruling over a bunch of the natives. And then, two hours later, we meet Kurtz and find out that, sure enough, he really is insane and ruling over a bunch of the natives. There is a strong implication along the way that the Vietnam war generally is also insane, but that wasn’t much of a revelation to me.
(Aside–the theme of “War Is Insane, And Makes Everyone In It Insane” was done much better, in my opinion, in the movie The Bridge on the River Kwai. It ends with the line “Madness, madness”, which would have fit Apocalypse Now as well.)
Kurtz has no character development. Neither does Willard, really: he starts off as a battle-hardened, PTSD soldier and finishes it as an even more battle-hardened PTSD solider. I guess his crew-mates on his boat are supposed to show the ravages of war taking their toll, but they all had “doomed” written all over them from scene one.
I read on Wikipedia that they considered a different ending, where Willard joins Kurtz and fights off an airstrike on the base. While seemingly impossible logically, that ending would make more sense thematically. Personally, I would have liked to see an ending where Kilgore showed up and destroyed Kurtz’s base. It would at least justify why they spend so much time on his character early in the movie.
(Another aside: Wikipedia also says that “Coppola decided that the ending could be “‘the classic myth of the murderer who gets up the river, kills the king, and then himself becomes the king — it’s the Fisher King, from The Golden Bough'”. For the record–this is the version of the story I remembered, not the one in the 1991 movie of the same name I wrote about a few months ago. But that’s mythology for you.)
(Last aside: this post has too many asides. One of them should be removed.)
I already wrote about Far Cry 2 in this post pretty thoroughly, so I won’t dwell on it overmuch. The short version is that it, like Heart of Darkness and Apocalypse Now before it, is well done, but empty. Although, I suppose it does sort of do what I criticized Apocalypse for not doing, in that there is some vague hint of character development in the sense that the player’s character is being sent to eliminate the Jackal in the beginning and winds up siding with him at the end.
To recap, in Heart of Darkness, we have this guy Kurtz. Nobody is quite sure what his deal is, and we gradually find out that he went crazy in the jungle because everything was brutal. Then, in Apocalypse Now, we have this guy Kurtz who everybody thinks went crazy in the jungle because everything was so brutal–and indeed, so he did. And then in Far Cry 2, we have this guy the Jackal, who goes crazy in the jungle because everything is so brutal.
Now, you will immediately see where Spec Ops is really different–here we have this guy Konrad. And nobody is quite sure what Konrad’s deal is… and he’s in a desert!