Vuelo 93

On September 11, 2001, a group of terrorists hijacked four commercial airliners on the American East Coast. They crashed two of the planes into the World Trade Center in New York, destroying it completely. Then the third plane hit Pentagon, the US defense headquarters in Arlington, Virginia. "United 93" is a film about what happened to the fourth airplane and its passengers.

This eerie docudrama was written and directed by Paul Greengrass, a young Englishman certainly well suited for the task. For several years, Greengrass had successfully dramatized historical events for British television. His international breakthrough came with the film "Bloody Sunday" - a story of the "troubles" in Northern Ireland that won the Golden Bear at the Berlin Film Festival in 2002.

"United 93" was the first feature that directly depicted what happened during the 9/11 attacks. So, for Greengrass, it was essential to achieve the highest possible realism. The passengers were therefore played by unknown actors. But that came at a price. During the difficult shoot, some of them were injured, so the blood visible on their faces as they attacked the terrorists is authentic.

Filming took place during the fall of 2005, onboard an old Boing 757 outside London. The location was chosen to shield the people in the movie team from the public scrutiny they might have received in the United States. And as usual Paul Greengrass shot the action scenes with a hand-held camera to create a higher sense of immediacy.

"United 93" had its world premiere at the Tribeca Film Festival in New York City. To Paul Greengrass' relief, it received a positive reception from most critics. But above all, the director was happy that so many family members of the United 93's passengers attended the screening to show their support for his movie.

There are two reasons why people go to the movies. They either go to be amused, entertained or distracted from the pressures of the real world; it's called escapism. The other is to learn, experience, educate, inform and face what our world is all about. Films like Schindler's List, Black Hawk Down, Saving Private Ryan, All the President's Men, and this week another film joins that list; Paul Greengrass' visceral and heartbreaking United 93. Some say it's too soon for a film about 9/11 to come out, but I disagree. I think this film is a bold and important reminder of why we're still fighting to this very day, and it puts us up close and personal with our very enemy; face to face. I don't think I've had such a profound and sober movie going experience like this since I saw The Passion of the Christ, and when the film was over how did the audience react? Applause.

United 93 is shot entirely with hand-held cameras to perfectly capture the realism of the events that happened that day. The film was written and directed by British filmmaker Paul Greengrass, who's previous films include 2004's blockbuster hit The Bourne Supremacy and the critically acclaimed 2002 docu-drama Bloody Sunday, and every frame of his vision is unflinching, intense and heart pounding from it's quiet beginning to it's nerve-wracking and stomach turning finale. The film is never exploitive of the events of 9/11 and always remains respectful to the memories of those on board that fateful plane.

Everybody knows the story, and everybody knows how it's going to end, but that never stops the film from being suspenseful. The film is pretty much void of any character development, and the film never, not even for a second feels like a movie, it looks like a documentary. And I'm sure the way Greengrass has captured the shock, confusion, chaos and panic of that morning is how it must have gone down. The cameras cover the action from all perspectives; from the National Air Traffic Control Center, airport towers, regional air traffic stations, and a military command room where soldiers try to figure out if and when they have the authority to shoot down a necessary target in order to protect Washington. One of the amazing things about United 93 is its casting. The casting of the film includes a number of real life United pilots, stewardesses, air traffic controllers and military personnel, many of them actually playing themselves. The cast of passengers are a group of largely unknowns, which lends great respectability and reality. We are seeing these people for the first time, with no previous knowledge of them as actors and it only works in their favor.

The film opens quietly with several hijackers going through their morning rituals, reading aloud from the Koran; praying to God and kneeling on the floor of their hotel room and then packing their things to head to the Newark airport. And from there we are introduced to several different air traffic controller technicians and we watch as they discover that two planes have been hi-jacked and eventually discover that they've hit the World Trade Center. These scenes are heartbreaking and feel somewhat surreal. But it's not until United flight 93 takes off that the towers are hit and the plane is up in the air when the terrorist's plans are set into motion.

The final fifteen minutes of United 93 will leave you speechless and paralyzed, as a group of passengers plan to attack and over throw the terrorists and try to take back the cockpit. It's intense, violent and overwhelmingly inspiring. The film is a well done memorial, dedicated to those who were killed on September 11th, and I truly believe that the film was done with the utmost respect to those involved and with amazing passion and sensitivity to "get it right". Director Paul Greengrass does get it right, and I honestly believe that it would have been impossible for it to have been done any better than it is here. United 93 is absolutely amazing, and to see a better or more important film this year seems very unlikely, and I think this film should be required viewing for all Americans, but when they feel that they are ready for it, because this is as real as it gets. This film is responsible film-making of the highest level and the experience is both sobering and cathartic.

The terrorists prepare themselves and on September 11, 2001, they board United Airlines Flight 93 departing from Newark to San Francisco. As they prepare to take off, planes are being hijacked. Chaos break out in air traffic control. Once in the air, the first plane crashes into the World Trade Center. Four hijackers take over United 93 as confusion spreads. The passengers calling from the plane surmise the hijackers' plan and try to retake the aircraft.

I saw it in a theater back in the day. Honestly, I couldn't stop shaking as I left. I had to take a few seconds before I start the car. It's almost ten years since then. 9/11 grows further into the distant past. Watching it again, I thought some of its power may have dissipated. I got a little blasé about it initially and then the terrorists break into the cockpit. The intensity comes flooding back. I'm shaking once again. I think the growing distance from the actual event has diminished the anxiety but it may always be there. Director Paul Greengrass is able to bring all of it out onto the surface.

The final scenes in United 93 have to be some of the most harrowing in cinema. What you witness is a frantic desire to live conflict with an insane desire to die. People become animals – rational thought gives way to instinct and barbarism, resulting in tragedy.

One of the most despairing images in this magnificent film has to be that of the passengers desperately pushing and driving one of their number towards the cockpit. The guy they're manoeuvring is a pilot of single engine planes and represents their one small hope of making it out of this alive. Knowing full well what happened to the passengers of United 93, the desperation is gut wrenching. You know they're not going to make it and that these are the death throes of those on board.

The agony of the final moments is amplified by the way that the pilot briefly manages to get his hands on the controls. Whether this happened in real life, no one knows, but it perfectly illustrates the conflict that occurred and the conflict that is happening now. Both sides desperately want to be in the driving seat but all the time things are spiralling out of control. In the end, everyone loses and nothing is gained.

Something else I like about the final moments is the disturbing catharsis when the passengers overwhelm the hijackers. This is probably the last time in the 'war on terror' where things will be black and white. The hijackers are wrong and deserve the brutal response of their captives. After this, though, everything becomes hazy and muddy. The tragedy gets twisted and it becomes the fuel for political greed.

But in that moment where the first hijacker gets overwhelmed and killed, there's a feeling of joy and exaltation that is primal. You're put in the position of the passengers and you feel the excitement they must have felt – maybe we can get out of this; maybe we can regain control. But it's a mass delusion. There's no turning back now. Things will never be the same.

But what's also great about the film is that there's no flag waving. This film isn't a call to arms. It isn't a rallying cry. Instead it's a grimly realistic depiction of the chaos that ensues when barbarism overwhelms normality. When something this audacious and unexpected occurs, all the controls that keep the world in check go flying out the window.

Some of the loons out there who want to believe in ridiculous conspiracy theories will point out that the response to the tragedy was too patchy and that communication couldn't be that bad. They've obviously never had a job. Sometimes it's hard enough to communicate clearly with someone downstairs in the same office as you, let alone in an office hundreds of miles away. Plus communication between governmental departments and agencies is notoriously poor. Therefore I can well believe that the response would be so impotent.

But the tale that unfolds in air traffic control centres and at NORAD is just as engrossing as the one in the plane. Like the passengers in United 93, they're wrestling with the enormity of the situation. No one can quite believe that this is happening and the sheer scale of the attack is beyond their comprehension. As a consequence people continually try and come to more realistic conclusions.

A clear, fast response also isn't helped by inaccurate information. When a plane hits the first tower, it's said that a small civil aircraft hit it. And then NORAD are told that American Airlines 11 is heading for Washington when it's actually hit the World Trade Centre. Yes technology is better these days, but we still don't live in a world where we have accurate information available at our fingertips the very second it happens. And it's galling to know that even the government has to get its updates from CNN.

A chilling moment that occurs in the film is when air traffic control are trying to communicate with American Airlines 11. The plane is over New York and they're desperately trying to talk to the pilot. But then the plane disappears off the screen. But even though we know it's hit the tower you can still understand the confusion. Even though the flight has disappeared, who can imagine such a thing?

Things only start to become clear when the second plane nears Manhattan. And then it's too late. People watching the smoking tower see the second plane crash into the other building. The attack is almost over before people can understand what's going on.

And the only reason that the fourth plane didn't hit the Capitol Building is because United 93 was delayed. Sure some imbeciles can question why the passengers of that flight didn't take the plane sooner, but they didn't know what was going on. When you don't know what's going on, you're powerless. But once they hear about the other flights, they decide to act. And the one bright spot in that miserable day is that these passengers fought back and prevented further loss of life.

But I really can't overstress how great this film is. There are no attempts to demonise. There are no attempts to play for false emotion. You're just dropped in this hellish situation and expected to deal with it. It just feels real.

And very often it feels painfully real. The build-up constantly had me on edge. The tension is palpable. And then there's the heartbreak of people phoning home and the desperation of the attack on the cockpit. Paul Greengrass has fashioned a masterpiece here. He's made a film that is visceral and heartbreaking and that makes no concessions to the audience. It's one of the greatest films of the last few years.

A most cathartic experience came over me when I viewed the much publicized "United 93". At once speculative and realistic, the 111-minute film will surely bring back the pall of fatalistic inevitability one feels about 9/11, but its more defining characteristic is revealing the untapped heroism and humanism of people caught in the most malevolent of circumstances. Masterfully written and directed by Paul Greengrass, this relentlessly intense movie covers that fateful morning when United Airlines Flight 93 departed Newark for San Francisco with 33 passengers and seven crew members on board.

As it turns out, Greengrass's heavy background in documentaries turns out to be a blessing in this treatment, as he tracks the subsequent events in real time and uses either under-the-radar actors or actual aviation personnel to play the real-life characters. Instead of focusing on the higher profile passengers to provide an emotional locus, which a more commercial filmmaker would have done, he encompasses all the passengers within the emotional purview of the film, including the four hijackers who killed the pilots and took control of the plane. The key dramatic difference is that we get to know not the people but the situation at hand. Consequently, we get a more realistic sense of the scale of the events that may have occurred on that flight. That's not to say it is any less devastating. In fact, the last half-hour is harrowing in the most personal sense as the inevitable becomes reality.

The power of the film comes from its surprisingly apolitical perspective and the inclusion of the ground personnel trying to comprehend the scope of all the redirected planes that day, in particular, Ben Sliney who effectively plays himself that day, the just-promoted supervisor of the National Air Traffic Control Center in Herndon, Va. None of the actors stand out because the film cumulatively achieves a verisimilitude that simply knocks me out. The film also does not pretend to be the definitive version of what happened on the last few moments of the flight. In an emotional sense, it is rather moot as we are talking about degrees of detail at that point. This is truly essential viewing.