When Kathryn Bigelow’s The Hurt Locker won all the big Oscars over James Cameron’s Avatar, the victory was perceived as a good sign of the state of things in Hollywood: A modest production meant for independent festivals clearly overran a superproduction whose technical brilliance cannot cover up the flat simplicity of its story. Did this mean that Hollywood is not just a blockbuster machine, but still knows how to appreciate marginal creative efforts? Maybe–but that’s a big maybe.
For all its mystifications, Avatar clearly sides with those who oppose the global Military-Industrial Complex, portraying the superpower army as a force of brutal destruction serving big corporate interests. The Hurt Locker, on the other hand, presents the U.S. Army in a way that is much more finely attuned to its own public image in our time of humanitarian interventions and militaristic pacifism.
The film largely ignores the big debate about the U.S. military intervention in Iraq, and instead focuses on the daily ordeals of ordinary soldiers who are forced to deal with danger and destruction. In pseudo-documentary style, it tells the story–or rather, presents a series of vignettes–of an Explosive Ordnance Disposal (EOD) squad and their potentially deadly work of disarming planted bombs. This choice is deeply symptomatic: Although soldiers, they do not kill, but daily risk their lives dismantling terrorist bombs that are destined to kill civilians. Can there be anything more sympathetic to our liberal sensibilities? Are our armies in the ongoing War on Terror (aka The Long War), even when they bomb and destroy, ultimately not just like EOD squads, patiently dismantling terrorist networks in order to make the lives of civilians safer?
But there is more to the film.
[Extract. Appeared in In These Times, on April 21st, 2010. (full text).]