Film Review - Civil War
Alex Garland's dystopian thriller imagining of America at war with itself eschews politics but gets top marks for shock and awe
I recently had a conversation with someone who insisted it is an insensitive and irresponsible time to release a film like Civil War, given that this is an American election year. I completely disagree. An American election year is the perfect time for a film like Civil War, especially after what happened on the 6th of January 2021. Why? Because that’s the whole point of dystopian fiction. It’s a warning. It’s an emphatic plea saying don’t do this far more powerful than any political speech.
Speaking of politics, writer-director Alex Garland nixes discussion of contemporary divisive issues from his tense, gripping film by unifying California and Texas in a “Western Forces” insurrection against loyalist states. In real life, politically California and Texas are chalk and cheese, so the story sidesteps any notion of making the left or right goodies or baddies. Whether this is a deft or daft decision rather depends on one’s political persuasion. I suspect centrists will welcome it.
This is, first and foremost, a riveting speculative thriller. War is hell themes are front and centre, but it’s also it’s about ambition, in a way that weirdly reminded me of All About Eve (1950). Themes of life-threatening war peril as addictive adrenaline rush are similar to those in The Hurt Locker (2009), but with war photography rather than bomb disposal as the drug of choice. The other film I was reminded of structurally, thematically, and visually, is Apocalypse Now (1979).
Garland throws us headfirst into a violent clash, whereby seasoned photojournalist Lee Smith (Kirsten Dunst) saves the life of wet-behind-the-ears aspiring photojournalist Jessie (Cailee Spaeny) during a riot. Jessie subsequently persuades Lee’s journalist colleague Joel (Wagner Moura) to let her accompany him, Lee, and Lee’s mentor Sammy (Stephen McKinley Henderson), as they attempt to get an interview with US President (Nick Offerman). This is a particularly dangerous move because the President’s troops are shooting journalists on sight in the capital. Nonetheless, believing the Western Forces are about to win the war, they decide to try anyway.
Along the way, a series of alarming vignettes illustrate the deterioration of America. Some towns they pass through pretend the war isn’t happening, despite the presence of snipers on their roofs. But others embrace it with lawless gusto, such as petrol station owners who capture and torture looters, or the unnamed soldier played by Jesse Plemons, who has the famously chilling line seen in trailers: “What kind of an American are you?” For them, the war is an excuse to violently pursue grudges and carry out racist killings.
One key scene involves a sniper against two soldiers pinned down. Neither of the two soldiers seems to know why the sniper is shooting at them, and they don’t understand why they’re fighting him either. By putting the civil war in miniature in this way, Garland frames his plea with clarity, showing the utter folly of the conflict.
Garland and cinematographer Rob Hardy compose shots with cinematic rigour, optimising the IMAX format. For example, the distant sight of a pursuing vehicle recalls Omar Sharif appearing on the distant horizon in Lawrence of Arabia (1962). There are lots of low angles as vehicles climb inclines, with the audience holding their breath to see what fresh horrors will be revealed when the land dips again. The use of sound is also outstanding, with silence sometimes deployed to underscore the bone-chilling aftermath of horrific violence.
Some will doubtless be frustrated by the refusal to get into specific political issues that might trigger a US civil war. However, for all its eschewing of politics, there is something vaguely Trumpian about the President. His derisive attitude to journalists, for one thing (though obviously, Trump didn’t have any shot). For another, his delusional broadcasts to the nation about how well he’s doing, when in fact he’s on the verge of defeat. Then there’s his unconstitutional third term in office. Given that Trump has suggested he’s potentially entitled to a third term, it does paint the character in a slightly more pointed light.
Still, shock and awe are the main course here, especially in a third act that features a pitched battle in Washington DC. Debates around journalistic ethics and the dehumanising effects of documenting war are touched on a little too, but in the end, Garland wants you on the edge of your seat, before nodding in agreement as the end credits roll. Another American civil war is a really bad idea, but going to see Civil War, especially in an American election year, is a really good idea.
(Originally published at Medium.)
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In some countries, this is not a fabrication- this is reality. Only just not in America yet...
I assume Garland decided to have California and Texas team up against the others because their combined population is larger than that in some of the smaller states. And because of their joint history: they were both originally Spanish colonies who rebelled against their masters for freedom, only to be absorbed into the U.S. politically because they had no other choice.