Black Hawk derribado

I vividly remembered the news reports in October 1993 of the body of an American serviceman being dragged through the streets of Mogadishu following the battle there . A couple of years later my interest of the battle was rekindled by an edition of the BBC`s excellent history show TIMEWATCH that spoke to the survivors of " The biggest firefight involving American troops since Vietnam " , so when Mark Bowden released his book BLACK HAWK DOWN I opened the first page and found myself unable to put it down , and when I heard Ridley Scott was going to bring Bowden`s book to the big screen I was looking forward to seeing it

I did enjoy the movie and have to take issue with some of the comments raised . First of all people complain about events and incidents being changed , I know how you feel but with any adaptation there`s bound to be bits condensed , the only real criticisms that can justified is that this film version totally negates the Somali point of view ( For those of you who haven`t read the book Mark Bowden writes his account in a similar subjective manner Corneilus Ryan wrote his trilogy - two of which THE LONGEST DAY and A BRIDGE TOO FAR were made into blockbuster movies - dealing with the last months of the war in Europe ) but Bowden`s book is an account of the battle of Mogadishu , that`s what it is - An account that doesn`t really concern itself with wider issues like politics or anti-war sentiment , so it seems churlish to complain about concepts like character development because that`s not what the story is about . I`ve also heard teenage girls complain that Orlando Bloom doesn`t get enough screen time and that they found it too violent . I`m sorry to hear that girls , hopefully next time you go to the cinema you might like to find out what you`re letting yourself in for . As for the rest of the screenplay it is accurate right down to the friction between the Deltas and the Rangers and the fact the Americans were actually rescued by a UN force composed of Malaysians and Pakistanis

Ridley Scott rightly deserved an Oscar nomination with BHD . It`s his movie and he surpasses anything Spielberg achieved with the overrated SAVING PRIVATE RYAN . War is hell and this is a film of stark and haunting imagery of victims of famine , of mutilated soldiers and civilians . Both editing and cinematography are superb with many great scenes like the small stream of American soldiers walking up the street while on the other side of the houses a massive torrent of armed militiamen are walking in the same direction . My only real complaints of what`s on screen is Ewan McGregor`s awful American accent ( It`s especially so when you stop to consider that most of the cast aren`t played by American actors )and Hans Zimmer score resembles that of most of his other movies , but I shouldn`t nitpick because I found this Scott`s best film alongside GLADIATOR

While the theatrical cut still resulted in a meaningful film, it irked me originally in the theater and then again recently upon seeing it again that very significant moments from the original Philadelphia Inquirer articles were left out. It was as if someone hadn't just forced Ridley Scott to cut the film down for time, but to de-emphasize the disparity in training and personalities between the Tier One units and everyone else. Was it because they wanted the Rangers to do interviews and go on the talk circuit to help publicize the film? Regardless, the Extended Edition adds back footage I had no idea they bothered to even shoot. The only big thing missing is that Delta medic Earl Fillmore isn't a character, but I assume his family wasn't interested in him being portrayed at all, which is unfortunate. In the Extended Edition, Wolcott instead serves the Fillmore role of reassuring someone and then himself becoming an early KIA. In fact, Fillmore was killed while moving to Wolcott's crash site. So, this was a very smart and fitting proxy. The theatrical cut is, frankly, an inexcusable version that no one should be watching when the extended exists.

There's no jingoism. No glorification. Just a telling of what went on. It doesn't dwell in the horrific, it has a tale to tell and does it. An amazing cast.

When you break it down and look at it both honestly and cynically (assuming that that is possible for a minute), there are really only two kinds of war movie: pro and con. The underlying theme of virtually every war movie - particularly since APOCALYPSE NOW - generally comes down to an analysis of the 'value' of war, of its worth. It's pointlessness, or its need. Is the action of battle warranted because of the attempt to find peace, or is war never justifiable, no matter what the intention?

Pro or con?

What is interesting is that since the Second World War, this underlying message that is found in nearly all war pictures has slowly changed from the former to the latter. This again is generally shaped in two ways. Either we see the play-by-play results following the issuance of what appears to be a bizarre and foolhardy set of orders from high command (i.e., APOCALYPSE NOW or SAVING PRIVATE RYAN). Or we get a glimpse of being right in the action as it all falls apart: hearing the bullets whizzing past our noses, reeling from the impact of RPG's and gazing blankly as the bodies begin to mount (PLATOON, say). BLACK HAWK DOWN, directed by Ridley Scott and accurately following the true story of the best-selling book by Mark Bowden, very much adopts the latter perspective.

On October 3, 1993, a small unit of U.S. Army Rangers and Delta Force troops were dropped by helicopter into hostile territory in Mogadishu, Somalia, with what is perceived to be a straightforward mission: the capture of two lieutenants of the Somali warlord, General Aidid. The unit is under command from Major William Garrison (Sam Shepard), and headed by Staff Sergeant Matt Eversmann (Josh Hartnett) in his first direct experience of frontline leadership. He also has a personal goal - to ensure everyone comes back alive.

Yet, these things are never as easy as they appear - hence the development of the book and the film - and when 18-year old frontline rookie Todd Blackbird is injured early on, the entire mission begins to fall apart. More U.S. troops are injured, and when Somalis down two Black Hawk helicopters, the mission changes completely: it's now a rescue operation.

And for about ninety minutes, you are subjected to some of the most intense, disturbing, graphic, violent and chilling pieces of conflict representation that you will ever see. Remember the Omaha Beach scene in SAVING PRIVATE RYAN? That was about half an hour long. Think of something three times that length, yet more 'realistic' and with (thankfully) no flag-waving. That is the gist of BLACK HAWK DOWN.

Ultimately, one hundred-and-twenty-three U.S. troops were involved in the Mogadishu conflict. Nineteen were killed, and one thousand Somalis also perished.

Unlike RYAN, BLACK HAWK DOWN doesn't build up a core group of characters, focusing on their emotional makeup and depth. No. Instead, we barely know our 'heroes', with very little time devoted to each characters motivation or purpose. And this is a good thing. At first, you find yourself a little bewildered by the sizeable cast, and this isn't helped by the many distant POV scenes that found this reviewer wondering just who he was seeing living and dying. But surely that is an important and crucial element of war - you're involved in these suicidal missions with men you barely know. You don't have time to share your life-stories. You may have only met that week, that day, or within the last hour. And then it's full on.

We get snippets of character data: Eversmann's entire focus is on not letting the team down; Specialist Danny Grimes (Ewan McGregor), for so long tied to his desk simply because he excelled at typing; and Delta Sergeant 'Hoot' Hooten (Tom Sizemore, soon to be playing Bruce Banner in THE HULK), wise despite his years, somehow making more sense of the nonsense than anyone else.

But any characterisation is underplayed and to the point, which is how it should be. The fresh-facedness and naivety of the troops is key to the success of the film, and of the emotional impact therein. As the errors and bodies mount, we get to see the horror of the conflict - the carnage and devastation, relentlessness and never-ending waves of Somali forces - directly through the eyes of the U.S. Rangers and Delta Force squad. I was somewhat stunned by the impact of the movie, both in the way the action grips you and shakes you violently until you want to let go, and in the occasional and very touching soft moments. Indeed, the action is so intense that I found myself at times glazing over, thinking of something else, and with hindsight I put this down to some kind of need for an emotional release; certainly, I cannot fault the film in that sense. It was simply a case of 'too much.'

Throughout the movie both the acting and direction are superb; Ridley Scott has an eye for detail and filmography that is probably unmatched. Even his lesser efforts like HANNIBAL are beautifully shot. And BLACK HAWK DOWN is one of his best efforts to date.

The musical score is also superb, and I was encouraged to hear the Stone Temple Pilot's CREEP near the beginning of the flick. I believe this is the first time I have heard a STP song in any movie.

What is also very welcome is the lack of U.S. nationalism in this picture. Of America saving the day. Unlike, say, brother Tony Scott's TOP GUN - which yes, was making a different point entirely (i.e., let's make some money and recruit some boys to the Navy at the same time) - this isn't about the might of the U.S. There is no wake-leaving in BLACK HAWK DOWN. Real people made mistakes, and real people died.

Speaking of Tony Scott, however, my only minor quibble was Sam Shepard's performance. He was probably in the wrong movie, as all his mannerisms (especially the way he took off his sunglasses in that quick-draw kind of way that stereotypical military types always seem to do) appeared to me to come straight out of TOP GUN. He was a little too 'bleh' for my tastes. For all I know William Garrison could have been exactly like that, but it still seemed a little Hollywood.

I also wasn't completely comfortable as to how the Somalis were portrayed; this movie wasn't really about good versus bad in my opinion, but on the face of it the U.S. are the bad guys here. At least inasmuch as they were at fault. Comparisons are made with Vietnam both in the unnecessary involvement of the U.S. in the Somali civil war, and in the end credits of the film where we learn that the Medal of Honour was awarded to two U.S. soldiers for the first time since the Vietnam conflict. Yet, throughout the film the Somali are seen in only two ways - either a relentless force of bloodthirsty killers, or a simple people trying to stay out of the way. Now yes, this may be what it really was like - I cannot say because I wasn't there - but the overall message didn't fit well with me. They seemed too one-dimensional, a bit TOO bloodthirsty, and that left a bitter taste.

Also as mentioned above the film is often confusing during the extended battle scene, and warrants more than one view. As the blood and dirt begins to pile, you will find yourself wondering who you are looking at, particularly when the perspective is on several soldiers from a distance. But that can be forgiven. This isn't PREDATOR, and while that film is outstanding as a piece of science fiction, it made a great effort to separate the marines so that the viewer would have an easy time following each one.

That, of course, isn't real life, and BLACK HAWK DOWN is, perhaps, as close as we've come yet to an accurate capture of the true feel of war.

Rating: **** 1/2 (out of five)

It's an action packed movie with great detailing and difficult direction. I have watched many war movies and their original footage. Black Hawk Down still remains the best for me. And hats off to Hans Zimmer