Zero Dark Thirty tell the story of the hunt for Bin Laden an takes the viewer into the heart of power and the first line of the mission led by a group of agents, culminating in the assault on his residence in Pakistan.
Viewed from a very practical standpoint Zero Dark Thirty is simpler than the handle of a bucket: the process by which a group of CIA manages to become aware of the whereabouts of Bin Laden .
The backdrop we know too well: the attacks that revolutionized the world violating the national security of the United States, its embassies and its allies. Bigelow knows and is not in it: not the pain of the families, or the drama of the deceased.
In fact his view is so cold that generates no empathy with U.S. intelligence when shown the torture of detainees, the treatment given to prisoners in jails without determining whereabouts secret or clearly vexatious procedures for with those who are suspected to be related to Al-Qaeda . But the funny thing is that it neither generates empathy for the what happens latter. His emotional detachment about the events described is surprising.
That lack of drama is stunning which many say that this is a movie next to the documentary genre, but it’s not far from it. Not even the end away from fiction.
The vehicular axis of the entire film is the character of Maya ( Jessica Chastain ), incorporated in 2001 to field research and capital will focus attention on the residence of Bin Laden in Pakistan.
The evolution of his character is shown in a phased, non-linear, marking that distance as premeditated about the story. Her relationship with the team is clear but not excessively or develops a rich film dialogues. Anyway, if the beginning of the story has trouble looking tough questioning gradually see how it becomes a little beast capable of anything to get the head of the world’s most wanted man . And that bureaucracy seems at times the biggest enemy to beat, rather than terrorism itself.
Not the best role Chastain , whose physical frailty makes sometimes it seems extremely vulnerable and implausible, as when he loses his temper in front of the high command of the CIA .The rest of the performers is diluted in the script for Mark Boal , who seems to have the firm intention not to divert attention from heroin.
The structure of the film is clearly climate, but has a big handicap and is the fragmentation of information in groups almost independent sequences preceded by a sign … Inevitably small timing jitter and broken registry changes the pace of an already long film in which the main interest is in the final stretch.
Bigelow knows photographing a scene, make plastic-ally beautiful thanks to the light, the game focus / blur and framing, knows even lend credibility, but errs when giving an internal coherence to the film.
The goal: capture Bin Laden. Where totally absent. Bigelow does not get wet or the least, or concerning the substantive policy issue, or addressing the darkest night. You can almost say that the most reactionary of the film is its title just because it was a dark night for global democracy in general and the U.S. in particular, which claimed revenge for her hand. Without wallowing in it afterwards, but bypassing all to reach your goal.
I was much more chilling view images of Hillary Clinton gasped as he watched with Obama and his cabinet of advisers images of the assault on Bin Laden’s house this film, which is halfway to many things. In short, truth is stranger than fiction.
