Peter Galen Massey

Pretty lies sell. Politicians know it. Hollywood knows it. Clint Eastwood knows it – although perhaps he did not intend to sell pretty lies when he made American Sniper. But pretty lies are what Eastwood delivers. And in them rest the sources of the controversy, and the complications, of the movie.

As you likely know, American Sniper tells the story of Chris Kyle, an American SEAL who is famous for being the “deadliest sniper in American history” with 160 confirmed kills to his name. The movie is far more interested in telling the story of the impact Kyle’s four tours of duty in Iraq had on him and his family, however. Much of that story is not pretty and much of it is true.

There Is Much Ugly Truth in American Sniper

There are quite a number of ugly truths wrapped around the pretty lies of American Sniper, which do a good job of giving the pretty lies of the film the appearance of “truth by association”.

Eastwood does not make war look fun. He makes it look like a tough, exhausting, dangerous job — Ann Hornaday of The Washington Post nails it when she called American Sniper a “professional procedural”. (The single exception is the scene where Kyle kills a rival sniper with a headshot from nearly a mile away. We follow the bullet in slow motion as if we were watching The Matrix.)

Eastwood certainly doesn’t make war look pretty. In one scene, one of Kyle’s friends is hit by assault rifle fire that instantly deadens his expression. He dies seconds later. In another scene, one of his friends is shot in the face, and we watch as the man chokes on the blood gurgling in his throat. Kyle’s sniper rifle blows holes the diameter of coffee cans in the bodies of the men, and the woman and the child, he kills.

Eastwood shows us the impact of war on soldiers. We are there outside the operating room when they die. We attend their funerals and see the grief of the family they left behind. We see soldiers trying to recuperate from horrible wounds in hospitals back home, and then try to build a new life with broken bodies and broken spirits.

We see what the war does especially to Chris Kyle’s wife, Taya, played by an excellent Sienna Miller. One of the strengths of American Sniper is just how much attention and respect it pays to the suffering of the wives (all wives in this case) of soldiers at war. And we see the impact of the war on Chris Kyle himself through the outstanding performance of Bradley Cooper – richly deserving his best-actor nomination – who in scene after scene, quietly and almost motionlessly, conveys the anguish of Chris Kyle’s job.

After Kyle shoots an armed enemy, he exhales and drops his head. Then he sniffs and returns to looking through the sight of his rifle, as if each shot were a burden he would need to carry and for which he would need to ultimately answer. This is particularly true after the famous opening sequence, when Kyle has to decide to shoot a young boy who is running toward an American patrol with a grenade, and then shoot the boy’s mother who picks up the grenade after her son is killed.

Later in the film, another boy picks up a grenade launch dropped by a dead fighter and seems to be attempting to aim it at an American patrol. “Put it down, put it down, put it down,” Kyle whispers as he fixes the boy in the sight of his rifle, a look of horror spread across his face. His relief when the boy drops the weapon is palpable.

Balanced against these many ugly truths – and they are very ugly indeed – are the pretty lies of American Sniper. These lies are very pretty indeed. The ultimately overwhelm the counter truths. And these lies start with Chris Kyle.

Chris Kyle: An Ideal and Idealized American Soldier

By all reports, the real Chris Kyle was in many ways the man American Sniper shows him to be. A tough professional elite soldier who joined the military to defend the United States from terrorists. A loyal and unwavering friend. A loving and devoted husband who struggled against the damage the war did to himself and his family, and who then committed himself to helping other veterans with the same struggles – including the man who killed Kyle in 2013.

But there are other parts of Chris Kyle that are absent from American Sniper and which are less than ideal. For example, the movie portrays Kyle as modest and reluctant to discuss his work. The real life Chris Kyle seems to have been much less modest. He actively promoted himself as “America’s most lethal sniper” and made good money doing it.

Kyle’s bragging also extended to things he didn’t do. Kyle claimed to have killed two carjackers in Texas and gone to New Orleans in the aftermath of Hurricane Katrina to shoot looters. No evidence for these claims exists. Kyle also claimed to have punched Jesse Ventura for criticizing the Iraq War. Ventura won a $1.8 million libel judgment against Kyle.

You could say that these were a few moments when Kyle’s mouth got ahead of his brain. You can’t offer the same defense of some of the opinions Kyle published in his autobiography. Such as these:

“I’m not lying or exaggerating to say it was fun. I had the time of my life being a SEAL.” [From the introduction.]

“I missed the excitement and the thrill. I loved killing bad guys.” [On why he wanted to go back to Iraq.]

“It was like a scene from ‘Dumb and Dumber’. The bullet went through the first guy and into the second…Two guys with one shot. The taxpayer got good bang for his buck on that one.” [On firing at two insurgents on a moped.]

These are not the words of a modest and selfless soldier, doing the hard work most people are unable or unwilling to do; not the words of the Chris Kyle portrayed in American Sniper who is celebrated by much of the nation as hero. These are the words of a person who enjoyed being paid by the U.S. government to go on a murder junket. And there is nothing pretty about them.

What Exactly Does “Fighting for Freedom” Mean?

As amazing as it sounds, the prettied up Chris Kyle isn’t the prettiest – or biggest lie – Eastwood tells in American Sniper. That distinction goes to the justification the movie presents for the Iraq war. Or more precisely, the lack of justification for the Iraq War the film presents.

War is a brutal business and when a war is necessary (and I do believe some wars are necessary) then we need men like Chris Kyle to fight them; and if these men are less than perfect in their motivations, and less than perfect in their actions, it is nonetheless indecent to criticize them for their imperfections. Men like Chris Kyle are the means to the ends we pursue, and if we don’t like the means then we shouldn’t pursue the ends.

The problem is that American Sniper utterly ignores questions like these. Instead, it takes at face value, unexamined and unchallenged, Chris Kyle’s justification for the Iraq War, which is the pretty, glittering, noble-sounding phrase that he was “fighting for freedom”.

But what does “fighting for freedom” mean in the context of the Iraq War? Don’t look for the answers in American Sniper because they ain’t there. Which leaves us to guess.

One possibility is that “fighting for freedom” means protecting the United States from existential threats – that is from enemies that have the ability to destroy America and the freedoms it guarantees its citizens. In this case, there are two important questions: Was Iraq an existential threat? and if so Was invading Iraq the best response to this threat?

The answers to both questions have been definitely settled as “no” for everyone not living inside an intellectually dishonest fantasy land. (They were also clear to many before the war began.) The same answer holds true for the claims that we were fighting for Iraq’s freedom, and that all that was need to create a stable democracy in a peaceful Iraq was to get rid of Saddam Hussein. History – if you wanted to bother looking at it – would have told you otherwise.

In this context, perhaps “fighting for freedom” means we don’t want to admit we launched a war of choice out of a combination of fear, incompetence, stupidity, vanity, bravado, and magical thinking. Or perhaps “fighting for freedom” means that it would be too painful to admit the Iraq War was a mistake after all the sacrifices made by our soldiers and their families.

Or perhaps “fighting for freedom” means that we really just want to kick somebody’s ass; we aren’t too particular about whose we kick; and we need some high-minded sounding excuse to go do it.

This is an offensive suggestion. The problem is … of all the possible definitions, it makes the most sense. If you were really serious about protecting America, you would believe it is worthwhile to carefully assess threats and deliberately choose the best response, weighing risk against benefit. And examine and learn from mistakes. Yes? If you were really serious about spreading freedom, you’d look at the places where it was done successfully, and the many places it wasn’t, then get serious about exactly what it will take and how hard it will be.

If on the other hand, you’re a fan of the shit-kicking approach to foreign policy – Let’s go kill bad guys! – and you see military intervention as simply a whole lot more awesome version of the National Football League – then “fighting for freedom” full stop, end of discussion, is all you need.

American Sniper: Catnip for Red States

Eastwood has claimed in his public statements that American Sniper is a “character study” and that the film is “anti-war”. Neither one of these claims holds up to scrutiny.

In terms of Chris Kyle, not only are the ugly pieces of his character left unstudied in American Sniper, they are substantially prettied up. This idealized Chris Kyle, with all the storytelling and myth-making fire-power of an accomplished director behind him, is made by the movie into “the” portrait of “the real” American soldier. Too tough, too brave, too accomplished, too loyal, too tender, too strong, too steady, too vulnerable, too modest, too selfless – just flawed enough to be too heroic – to be true.

It’s hard to be anti-war if you make the impact of a war ugly (which Eastwood does) but make the reasons for fighting that war noble when they ain’t. Or put it this way. When horrible sacrifices are justified by beautiful lies, the lies don’t become horrible. The sacrifices become beautiful.

Considering the total effect of American Sniper then, the pretty lies are stronger than the ugly truths, and leave the stronger impression. No surprise then either that the film has the knickers of liberals in a twist or that American Sniper is a smash-hit success in Red State America. It’s perfect catnip. It acknowledges the horror of combat and the heavy sacrifices of military families, while telling us soldiers are heroes who volunteered to fight a good and necessary war. Based on all the reports of cheering during the movie, sounds like the shit-kickers got their money’s worth too.

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Is it possible for a movie to tell a truth its audience does not want to hear?

We know that movies can sell the pretty lies of propaganda more persuasively than other medium. In fact, you could say the definition of a movie is a “pretty lie”. But can a film tell an “ugly truth”?

12 Years a Slave, the newest winner of the Oscar for best picture, directed by Steven McQueen and starring Chiwetel Ejiofor, is the rare film that allows us to answer “yes” to this question.

There are a lot of reasons films like 12 Years a Slave are so rare. The essential one, however, is the simple fact that you have to sell tickets to movies.

The average price of admission to a movie in America last year was $8.35 and if you were an adult attending a non-matinee showing, $12.00 to $15.00 was more like it.

In aggregate, people will lay down money to be entertained by a movie. They will especially slap down coin to participate in a filmed fantasy: sex, wealth, power, revenge or justice, adventure, romance, agency, freedom, lives lived with noble meaning and purpose.

Sometimes, they will pay to see the truths of their real lives expressed for them by a film. Even less often, but still sometimes, people will pay to watch a movie that tells an ugly truth about someone else.

But people do not want to pay for the experience of confronting an ugly truth about themselves. Because it damages their self-esteem.

There is a growing body of social science research (see this recent piece on the vaccines-cause-autism myth as an example) that finds when people are confronted with evidence that contradicts one of their dearly held beliefs, they end up clinging even more strongly to that belief.

That’s why so many “issue” movies are sanitized, prettified, heavy-hand pieces of didactic crap in which an exceptional, self-sacrificing hero from the victimizer class achieves some sort of redemption for the victimized class, often while a representative sample of the victims stand admiringly off to one side.

This is because it is nearly impossible to show an audience an ugly truth unless you give them a big, honking, obvious, unambiguous way of disassociating themselves from that ugly truth. Thus the self-sacrificing hero from the victimizer class and thus the speech (or speeches) in which said hero firmly articulates the principles we all eagerly embrace so we can feel like good people.

The remarkable, harrowing, painful, brilliant achievement of 12 Years a Slave is how little of this it does and consequentially how powerfully it succeeds as art and history and moral persuasion.

As you doubtlessly know by now, 12 Years a Slave, tells the true story of Solomon Northup, a free black man from New York state who is kidnapped into slavery. The film focuses on the brutal daily reality of Solomon’s life as an enslaved man: the what-should-be-impossible to endure physical, emotional, and psychological suffering that Solomon and the men, women, and children who are enslaved with him do endure until they die.

Director Steven McQueen keeps the focus on Solomon’s suffering and refuses to allow us to look away. We are immersed in Solomon’s experience, in a firestorm of words he cannot risk speaking, of emotions always felt but seldom expressed because their expression will bring him destruction, either from the hands of white slave-owners or his own enormous interior pain.

As Solomon Northup, Chiwetel Ejiofor is simply astounding. The role requires Mr. Ejiofor to do everything and nothing. To feel and to show us that feeling and to show us Solomon hiding that feeling. To not speak and to show us the words he does not speak. To show us a life in which every minute of that life is anguish and exhaustion – sometimes gentle but usually unbearable.

There are many indelible scenes in 12 Years a Slave, but for me the most unforgettable is the one where a slave-owner named Edwin Epps (Michael Fassbinger) forces Solomon to whip Patsey, a young enslaved woman with whom Epps is malignantly, sexually obsessed. (Patsey is played by Lupita Nyong’o, who won an Oscar for the role.)

The whipping nearly breaks Solomon and is devastating to Patsey as well. Solomon’s reaction, the red mist of blood that rises from Patsey’s back each time the lash strikes, her uncontrollably weeping, and the deep furrowed wounds from the whip McQueen shows us, all should put to an end – for the last time – to the lie that slavery was a just “particular institution” or a “benevolent institution”; or the lie that abolition was a less worthy cause for liberty than the liberty of slave-states to determine within their borders who did and who did not deserve the right to the freedoms promised by the Declaration of Independence and the Constitution; or the lie that slavery was a mere minor blemish on the glorious, now persecuted culture and history of the American south specifically and America in general; or the lie that the suffering of enslaved men, women, and children has been overstated and oversold, and in any case, slavery is in the past and so it is far past time for people to shut up about it.

McQueen does a good job of not letting his audience off the hook in this movie – and by “his audience” I should be specific and say the audience not escaping the hook is “American white people” and fair enough – but there are two stumbles in Twelve Years a Slave.

The first is in the characters of the slave-owner Edwin Epps and his wife, who both shade far enough into psychotic villainy that McQueen could allow his audience to say that it was only a few crazy bad slave-owners who did crazy bad things to enslaved people.

A bigger problem is the abolitionist carpenter name Bass who helps Solomon regain his freedom. Bass is played by Brad Pitt and as the exceptional, self-sacrificing hero from the victimizer class who achieves a redemption of sorts for Solomon – and who while at it, also delivers a few neat little speeches that articulate the principles we all can eagerly embrace and so feel like good people – Pitt stands out like a big fat sore thumb.

I get the feeling this was not exactly McQueen’s choice. Pitt was one of the film’s ten producers, and of the ten, the only generally recognizable big Hollywood gun in the group. When the best picture Oscar was announced, Pitt was the first producer on stage, the first producer to take his Oscar, and the first producer to speak — though he spoke briefly and graciously, and mostly to introduce McQueen.

If the price of getting 12 Years a Slave in theaters was to give Pitt a few glamour moments, it was a price well worth paying. But the movie would have been better served if Pitt had switched roles with Paul Giamatti, the slave-trader who knows Solomon is a kidnapped freeman and sells him any way. Pitt’s glamour would have made a bracing contrast to his character’s actions, and Giamatti would have made the audience-hero-surrogate less pretty, less preachy, less courageous, less unconflicted. Less like the person we would like to be. More like the person most of us are.

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The only element of any real interest in Peter Jackson’s The Hobbit: The Desolation of Smaug is the question “What went wrong?” and even that is a pretty dull question because the answer is clear enough: the money people wrapped their fingers around the neck of this movie and strangled it to death.

By saying this, I am not trying to absolve Jackson of his responsibility. He signed the contract, cashed the check, and put his name on the film.

But Jackson was faced with formidable challenges in making Smaug. The biggest challenge was how to manage the legacy brand that he had created through Lord of the Rings, in which the safest route to profit was to deliver basically the same goods in basically the same package, even if those goods had grown a bit stale (ie, the preferred approach of the money people).

Jackson also had to keep his eye on the huge non-English-speaking and/or non-Western audiences for The Desolation of Smaug, since spectacle translates more easily than dialogue, and since special effects are less likely to cause cultural offense than stories or characters.

Jackson decided (or was asked) to pad out a book that would have potentially made one good film into three movies, with a total running time pushing eight hours. And while we’re at it, let’s note Smaug is the middle of the three films, with no natural beginning or end to help give shape to the story.

But with all that said, I’m surprised by how badly Jackson flubbed Smaug considering how well he managed the earlier Lord of the Rings films, in which he balanced character with action, drove the story through both internal and external conflicts, and gave shape to the overall plot.

The Desolation of Smaug is a plodding, tedious, frantic mess. I think the main culprit is the decision to expand the book’s story rather than edit it down. All the padding – particularly filming events that occur off the page in the book – destroys whatever dynamic tension the story arc in the Desolation of Smaug might have achieved and gives us a jumbled collection of scenes instead.

These scenes are not driven by situation, since the situations in Smaug are so many and so various that the connections among them quickly become lost; and these scenes are certainly not driven by character or emotion, which means the talents of at least two very good actors – Martin Freeman as Bilbo and Ian McKellan as Gandalf – go entirely to waste, with what moments of real human feeling they sometimes find soon swept away in the general noise and hubbub.

The result is a whole-movie version of what happens when actors find themselves stuck in a play that really doesn’t work. They fall back on acting bigger, louder, faster to cover up a lack of sense.

In the case of Smaug, this bigger-louder-faster extends to the action sequences and special effects, which are fine as far as they go, but they turn the film into just a roller-coaster ride: viscerally thrilling at times but empty of meaning.

I don’t have a problem with entertainment being entertainment, and businesses working to cash in big by selling to big audiences, but films don’t have to be as desultory as The Hobbit is to earn money for their investors. Joss Whedon’s The Avengers demonstrated that last year. Peter Jackson proved it with his Lord of the Rings movies. Entertainment can excel as high craft, without aspiring to or needing to achieve the goals of art. Craft is a worthy goal. Unfortunately, Smaug isn’t craft. It’s crap.

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In the movie Before Midnight, the team of director Richard Linklater and actors Julie Delpy and Ethan Hawke set themselves the monumental task of portraying a single day in the life of a privileged Franco-American couple, while summarizing the last nine years of their relationship, and fall just short of creating a masterpiece.

Before Midnight is the third installment of a series that began with Before Sunrise (1995) and continued with Before Sunset (2004).

Each film portrays less than twenty-four hours in the lives of two characters, the French environmental activist Celine (Deply) and the American writer Jesse (Hawke), entirely through conversations.

All of the films are deeply committed to a realism that emphasizes the flow and rhythm of actual talk. So the movies allow Celine and Jesse’ words to jump wildly from point to point, and expose their characters’ thoughts and emotions in ways that are raw, immediate, sometimes uncensored, and sometimes painfully unflattering.

Which means the experience of the Before movies is much closer to the experience of living our lives than watching a typical movie, in which a controlling intelligence works hard to clean up the dialogue, make the characters look good (or chooses exactly how and how much they will look bad), and impose a structure on events that gives them an implicit sense of purpose and meaning.

These choices are particularly effective in Before Midnight because you no longer have the pleasure of watching Delpy and Hawke meeting or re-meeting cute, with an unknown happy future in front of them, but rather seeing them living the reality of that future in which their romance, their jobs, and the work of raising their children have become highly specific and in many ways, unsolvable problems.

Before Midnight is also powerful because the movies gets so deeply into the characters of Celine and Jesse that whether we as the audience like them or don’t like them, or whether Linklater-Delpy-Hawke care if we like them or not, is irrelevant.

The questions are whether Celine and Jesse can like themselves, or each other, or find a way to preserve the mystery of the love between them – now that the persuasion of its first blossoming is long past – or find happiness from lives in which it seems clear no transcendence will emerge.

Both Hawke and Delpy should get medals for acting courage in Before Midnight, but Deply in particular deserves praise. Her Celine is in a state of greater crisis than Jesse, and she holds nothing back. She looks and feels her age in a way women in movies rarely look or feel.

My only quibble is a technical one. Because Before Midnight has nine years to cover in the life of Celine and Jesse, it sometimes feels over-packed and over-busy.

For example, during a long argument in a hotel room, Celine brings up a whole basketful of problems she’s had with their relationship, and the realism of the conversation slips into the feeling that Linklater-Delpy-Hawke are trying to shove a summary of their last nine years into a single take.

An even bigger problem here is that they are asking us to believe that Celine kept many of these problems to herself all this time, and Celine is a character who the films have conclusively demonstrated keeps NOTHING to herself.

But these are small flaws compared to what the movie achieves. Few films hold a mirror up to its audience as relentlessly and unflinchingly and persuasively as Before Midnight. Go see it.

Other Massey Movie Reviews – kinda random as selections go, but what the hey

Much Ado About Nothing directed by Joss Whedon

Django Unchained directed by Quentin Tarantino

Sunset Boulevard directed by the great Billy Wilder

The Hunger Games directed by Gary Ross

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