Posts Tagged ‘Jessica Chastain’

Zero Dark Thirty

Superb Tradecraft

Oscar winning director Kathryn Bigelow’s brilliant yet riveting film Zero Dark Thirty is a masterful film, held together by a central performance by Jessica Chastain as CIA Intelligence Operative Maya and a superb script by Mark Boal, who also collaborated with Bigelow on the equally impressive The Hurt Locker.

This complex film opens with the flight recordings of the United 93 plane that crashed in Pennsylvania during the September 2001 US Terror attacks sparking an obsessive and frustrating hunt for the Al Qaeda mastermind Osama Bin Laden by the CIA and specifically Maya initially from the hostile environment of Pakistan then based at the CIA headquarters in Langley, Virginia. The narrative charts a veritable timeline of terror that has characterized the first decade of the 21^st century, from 9/11 to the London Transport bombings in July 2005, to the Marriott Hotel bombing in Islamabad in September 2008 to the suicide bombing at the American military base, Camp Chapman in Khost, Afghanistan in December 2009.

Zero Dark Thirty is a brilliant spy thriller and unlike Argo, is deadly serious in every respect and is grounded in much historical research and investigative journalism, noted in the detailed script by Mark Boal. As in The Hurt Locker, Bigelow once again casts her central character in a completely hostile and extremely dangerous environment and the petite Maya as the tenacious CIA operative who skilfully leads the hunt for and final execution of Al Qaeda leader Osama Bin Laden, the mastermind behind many international terrorist attacks, most notably 9/11 and the 2005 London bombings.

Bigelow as a director takes on a larger canvas than in the Iraq War in The Hurt Locker and shows that the decade long hunt for America’s most wanted enemy was an international affair from Pakistan to Poland to Kuwait involving CIA black sites, detailed surveillance and lots of political wrangling.

Tradecraft

A notable narrative shift is from the film’s first half set under the Bush administration where torture, rendition and revenge were the CIA’s chief instruments of capturing Al Qaeda terrorists to the second half set after November 2008 under the Obama administration where detailed surveillance, dedication and  almost positive certainty of terrorist tradecraft which ultimately lead to the riveting  elimination of Osama Bin Laden at a compound in Abbottabad, Pakistan in May 2011, Zero Dark Thirty is deadpan in its presentation of one nations hunt for a master terrorist and the extraordinary sacrifice and lengths these CIA operatives went to in finally achieving their goal.

Jessica Chastain performance is simply superb and has already garnered a 2013 Golden Globe Award and truly shows her talent and diversity in the role of Maya but also points to Kathryn Bigelow ability  to bring out the best performance ever in her leading actors, as was the case with Jeremy Renner in The Hurt Locker. The final sequence involving the storming of the Abbottabad compound, believed to be Bin Ladin’s hideout by elite American soldiers is truly nerve-wracking cinema, shot with Bigelow’s trademark directorial detachment cut through with absolute documentary styled realism.

Zero Dark Thirty has a great supporting cast including Jason Clarke as the CIA torturer Dan, Kyle Chandler as CIA Pakistan operations chief Joseph Bradley along with Mark Strong, Jennifer Ehle and James Gandolfini, but it is really Chastain’s obsessive portrayal of CIA Operative Maya, a woman battling to gain respect in a male dominated espionage arena, that shows her true talent. The pace of Zero Dark Thirty is fast and yet measured enough to show the time involved assisted by an original score by Alexandre Desplat and with cutting edge sound editing, the audience is immediately immersed in a deeply fascinating portrait of America’s covert hunt for that nation’s Enemy Number One. Highly Recommended and definitely Oscar worthy.

The Tree of Life

Capturing the Universe’s essence

Reclusive American film maker Terrence Malick’s visually evocative epic The Tree of Life centres on a Southern American family living in the then idyllic town of Waco, Texas in the late 1950’s and early 1960’s. A strict and religious father, a loving and luminous mother and three boys is intimately shot and interwoven with a larger meditation on the existence of God, the universe, Birth and Death and the arc from a more pastoral existence to the technology filled society which has defined the 21^st century. The father is played brilliant by Brad Pitt and the mother by Jessica Chastain each representing the balance in nature between order, discipline and change with beauty, grace and tenderness.

Malick’s vision is of a true auteur and is entirely uncompromising, creating a cinematic experience in The Tree of Life which is visually astounding, intimately beautiful and prosaic enhanced with amazing cinematography by Emmanuel Lubezki. Using a non-linear narrative, multiple levels of sound combining breathtaking music with snatches of interior monologue from his characters, the audience has to piece together the progression of this journey of a family who suffers a loss by way of nature.

There are no structured scenes but rather a series of visually sublime and breathtaking scenery intercut with a larger vision of the universe’s origins, the development of life on earth and the natural order of selection. Where Malick excels are the scenes of the three brothers innocently playing, focusing on the eldest son, Jack’s viewpoint who is deeply affected by his father’s discipline, balancing his own aggression by acts of affection for his younger siblings. Jack also appears as an older man, played by Sean Penn as an architect in Houston, still affected by the earlier grief which defined his family.

The Tree of Life is not a commercial film and if viewers enjoyed Malick’s two previous films, The Thin Red Line and The New World, then they will appreciate this beautiful yet bewildering meditation on the origins of existence on earth, yet his latest visual offering did impress the jury at Cannes walking off with the 2011 much coveted Palm d’Or. See it to make your own impressions.