FiLM REViEW: Zero Dark Thirty, 2012

Having just watched Warfare, I wanted to watch some more (reasonably) contemporary stuff on similar lines. I wound up choosing Zero Dark Thirty, primarily for the Operation Neptune Spear part. Hence also my choice of banner image above.

‘Maya’, a composite character.

Other demographics might choose other images to illustrate the film. For example, British Vogue magazine prefers the above. This is Jessica Chastain, as ‘Maya’, a fictional composite character, based in part on Alfreda Frances Bikowsky.

Bikowsky also figures large in the much better Looming Tower miniseries. Whilst working at Alec Station, for the CIA, she met the then head of said station, Michael Scheuer, and they eventually married.

Bikowsky and Scheuer as they appear in The Looming Tower.
The actual Michael Scheuer.

Intriguingly, whilst it’s easy to find images of the married couple as dramatic characters, I couldn’t find any of them as a real life couple.

Freda Scheuer, as she is now.

Zero Dark Thirty distorts history massively, and – in the way in which the Maya character is used – does so in a manner calculated to make those who froth at the mouth at the term ‘woke’ drool rabidly.

Both Zero Dark Thirty and The Looming Tower do real history a great disservice – as so many countless films do – by having overly good looking folk glamourise the tawdry doings of much frumpier more ordinary looking folk.

A schematic of the Abbottabad compound.

This creates a confusion, especially when films make claims – as Zero Dark Thirty does – to be based on real events. Ok, yes, it is based on real events. But it puts a very particular gloss on them. And many watching will very probably assume this is just how things really happened, when it isn’t.

Bikowsky, as she was then, wasn’t a lone ‘empowered female’ crusader, responsible for finding and killing Bin Laden. Not only was she not involved in much of the events as depicted here, but also many hold that she and Scheuer are culpable for 9/11 because they withheld vital intel from the FBI. This is a theme The Looming Tower addresses.

‘Waziristan Haveli’, Abbottabad.

Presenting the manhunt for Osama Bin Laden as the work of one determined woman, in the face and teeth of many bumbling men, is pure fantasy.

For me, the best part of the film, by far, is the final Canaries segment, in which Navy SEAL Team Six (to use just one of this units many names!) attack the compound and kill Bin Laden. It’s very well done, and really rather horrible.

Jason Clarke as the loathsome Dan Fuller.

Speaking of horrible. This movie starts with quite a lot of ‘enhanced interrogation techniques’ – or in plain English torture – being used on hapless ‘terror suspects’, at ‘dark sites’. Both the real US administration, and the makers of this film, have been widely criticised for suggesting such methods yield useful intel.

All in all, a rather muddled movie, that condenses and distorts an awful lot of history, and then presents it in a rather oddly skewed way. Certainly not brilliant. But still worth seeing.

FiLM REViEW: Warfare, 2025

Whoa, Nelly!

Just watched this… and, well… it was pretty hardcore.

A feelgood start…

The beginning of the film was outright weird. I thought something had gone wrong…

Warfare invades the domestic space.

The scenario that is the the beating, pumping bloody heart of the movie starts with a military ‘home invasion’. The way this is handled – in the movie, that is – highlights an ugly truth of war: ordinary civilian life is the first casualty.

A strong image.

The Navy Seal squad, in Ramadi, Iraq, settle into their OP (observation point) positions. Elliot, the chief sniper – also a Corpsman, or medic – doing most of the ‘scoping’, very literally.

After a long slow build-up, with ‘military age males’ assembling nearby, the ominous ‘Allahu Akbar’ starts to be chanted over a PA; civilians clear the area, and you know the action is about to begin.

A grenade is lobbed through the sniper’s viewing hole, and several of the men incur what appear to be relatively minor injuries. A ‘casevac’ – casualty evacuation – is called in.

But as the team attempt to get Elliot to the Bradley (armoured car), an IED explodes, killing one (or both?) of the Iraqi soldiers attached to the group (for communicating with locals), and seriously wounding two of the Americans.

War is Hell.

The handling of this scene is very powerful. And very affecting. Lots of war films have started using silence, followed by ‘ringing in the ears’, and tinny sound, after explosions. But here it’s done particularly effectively.

At first you assume Elliot must be dead. His legs are shredded so badly that… well, watch and find out. Also injured – very similarly; ie legs shredded – is Sam, the group’s LPO, or ‘lead petty officer’ (played by Joseph Quinn, who we’d previously seen, in a very different role, in Dickensian!).

Both of these men – like the whole team – are based on real life soldiers. And the film as a whole is based on those soldiers recollections of events. With one of them – Mendoza (the radio guy, played in the film by the improbably named D’Pharaoh Woon-A-Tai) – co-directing the film.

Casevac…

There’s a lot to be processed. From the harshness of the combat, to the interesting depiction of US Navy SEAL (and general contemporary American) military gear and procedure.

It’s a movie with quite a narrow focus. Literally depicting, other than the intro, a near ‘real time’ slice of life/death. And the focus is resolutely on the US troops.

One of several Bradley armoured vehicles.

So on the one hand this is a strikingly contemporary and somewhat unusual depiction of modern warfare. The building tension – from humdrum ennui to confused creeping fear – leading up to the ‘action’, and the chaos, stress and horror of combat, are superbly conveyed.

But on another level, this is actually an ages old theme. And in American cinema its antecedents are the ‘Cowboys & Injuns’ movies. The SEAL unit are the beleaguered defenders of the circle of wagons/fort (or in this case, Iraqi home); their attackers are the ‘Injuns’; and the Bradleys (and other support) are the cavalry.

A very powerful film. Which I think I’ll watch again.

PS

A fascinating and I think brilliant aspect of the film is the soundtrack. The film starts in silence (even the MGM lion’s roar is silent!), segueing into the music video of Call On Me, still in silence.

Then the music kicks in, and we see the SEAL team enjoying a moment of hyper-macho bonding, to the steamy video and pumping feel-good music.

But, after that, as GQ writer Killian Faith-Kelly succinctly puts it, ‘a notable absence of score … allows the audience to arrive at their emotional experience of the film without any musical instruction.’

Compare that to the unbearable and relentless sonic assault (I found it a form of torture!) of the Dunkirk soundtrack.

The latter was, in my opinion, grotesquely heavy-handed. And egregiously manipulative. The sound design of Warfare, by comparison, is an object lesson in stripped down excellence.

Oh, and talking of stripped down… I liked the little touch of unabashed realism whereby we get a glimpse of Sam’s genitals, as they treat his appalling wounds. Actually a prosthetic. But a nice touch, nonetheless.

And staying, briefly, with cock ‘n’ balls… sportsmen have their ‘boxes’. Surely by now soldiers, with their helmets and body armour, ought to also have thigh/crotch armour?

Film Review: The Enemy Below, 1957

Image source: IMDb.

WWII naval cat and mouse, set in the Caribbean, between Robert Mitchum’s US Navy Destroyer Escort and Kurt Jurgens’ U-Boat.

The small scale – just two antagonists – is quite good, as it means the limits of pre-CGI film making don’t spoil things (cf w 1956s Battle of The River Plate). Indeed, part of this movies’ charm is how much procedural business features. Lovers of military/naval history ought to enjoy this. I know I did.

They sketch in a bit of the two commanders’ pasts: Mitchum was a civvy Freighter man, and Jurgens a WWI U-boat man. Curt is jaded, and Mitchum was widowed by a U-boat. 

Jurgens and Mitchum.

For a war movie it’s quite feel-good and upbeat. It’s certainly a fun watch. The procedural aspects lend hints of realism. But there’s a line of ‘noble warriors’ sentiment running through the movie, that – whilst making for great entertainment – feels less realistic. 

The use of models vs real boats, something that, prior to CGI, could be an Achilles heel – both in terms of authenticity and looking credible (suspension of disbelief, etc.) – is handled very well. Only at the film’s denouement does the use of models become very obvious. And even then it’s well enough done to charm rather than irritate. 

Indeed, the ending is an altogether fittingly exciting and well rendered climax to a very satisfying bit of WWII naval entertainment. Not a classic, perhaps. But worth watching. 

The movie was based on this book.*

*The book is actually the story of a British naval encounter with a U-boat.

MiSC: Wreck of The Amsterdam

Photo source: Shipwreck Museum, Hastings.

Teresa and I recently holidayed briefly in St Leonards. Whilst there we visited The Shipwreck Museum, in Hastings.

A film was showing, which, it turned out, featured parts (maybe the whole?) of an episode from a BBC TV series called Chronicle, pertaining to the discovery and exploration of the wreck of The Amsterdam, nearby.

Photo source: ThePast.com (no credits listed).

Wrecks weren’t as well protected legally then as they are now. Which was an issue the archaeologist on Chronicle talked about.

This is an interesting article on a full-sized replica of The Amsterdam, which resides at a mooring alongside the Dutch National Maritime Museum.

Chronicle sounds terrific. Here’s a link to a BBC page about it.

DAYS OUT: St Leonard’s…

New books.

Last night I finished reading James Holland’s superb Sicily, ‘43. Later today I’ll start volume three – The Price of Victory – of Rodger’s British Naval History trilogy.

But in addition to books I brought with me, I acquired some new tomes, from the superb Black Gull Books. Yesterday I bought a French language work on Picasso. And today, having intended to buy more Picasso, I instead bought the Taschen Funk & Soul album covers book.

Re the latter, given how groovy some of these are, the choice for the front cover is – to my mind/eyes – bizarrely rubbish!

HOME & GARDEN: Green Room in Bloom!

Lovely.

This year is the first time either of our Wisterias have come into full bloom. The one out front is struggling a bit. Needs fresh soil/compost/nutrients, I guess?

Beautiful!

The one out back – actually two plants – has really come on this year.

And some other bits of beauty in the garden…

DAN’S FUNERAL/WAKE

Old and treasured memories…

Well… Dan’s funeral and wake took place yesterday, Friday, 25th April.

I took just two pictures: the one above, of a photo that was in one of the ‘Dan’s Life’ photo’ albums; and the one below, of Amy and Carmelle starting to boogie to the live music at Dan’s wake.

I wish I’d taken loads of pics of all the old friends we met and caught up with. But we were too busy meeting and catching up with them!

POETRY

Seb - Poem Index

INDEX - SEB’S COMPLETE POEMS

A Poem A Day In Nowheresville 5/11/’21 ✓
A Walk In The Park (?) Park, Peterboro’ 27/10/’23 UF!!!
Actors 4/6/95 ✓
Adventurer’s Drove 9/10/’23 [mislabelled as October Scorcher!?] ✓
Airborne 11/10/’23 ✓
The Alchemist’s Tool Kit 27/1/24 ✓
Anger 5/8/24 ✓
Ant Heap 4/11/24 UF!!! ✓
At One With one At One 19/2/25 ✓
Autumn Light 10/11/’23 ✓
Barnack Stone [mislabelled as Storied 25/9/’23] ✓
(The) Battle With The Booze 21/9/23 ✓
Belt Of Light 29/10/’23 UF!!!
Black & Blue 14/10/’23 ✓
Black Hole 14/8/24
Black Wings 2/4/25
Blade of Grass 23/7/24 ✓
Blues For Doug 7/7/24 ✓
Breakfast 16/11/24 ✓
Can’t Make Ends Meet (Butcher Hooks) 6/11/’23 ✓
Caught Short (in the house of the Lord) 14/10/23 ✓
Church of the Open Truth Seeking Mind 18/2/24 [appears twice!?] ✓
Circus Daily 18/1/24 ✓
Clear A Space 26/9/’23 ✓
Clouds 14/10/’23 ✓
The Clouds 28/8/’24 ✓
Cloudswept 22/4/25
Coffee 1995 ✓
Cold Wind 23/8/24 ✓
Conditioning 13/2/24 [appears twice!?] ✓
Crook’d Man Tree 27/9/’23 ✓
Cry Baby, 12/2/’97 ✓
Dad 29/10/’23 ✓
Dark Clouds Pass 26/4/’24 ✓
Dark Spirals
(Don’t Let The) Darkness 5/11/’23 ✓
Delusions Illusions 9/1/’25 ✓
Doldrums ?/8/‘24 ✓
Down For The Count 22/10/’24
Dreaming 10/11/23 ✓
Duck-Billed Priapus 3/4/‘25
Erotomania 10/10/’23 ✓
Farewell To All That 27/1/24 ✓
[Fast lane cruiser (14/11/’21) too crap!] ✓
Fire On The Horizon 18/1/24 ✓
Flying Into The Sun 5/11/’21 ✓
Footsore 14/2/’24 [appears twice!?] ✓
Four Brothers 5/11/’23 ✓
Friend, 24? ✓
Fryin’ Bacon 29/10/’23 ✓
FUCK! 22/3/’24 ✓
Fuck You All 4/6/’24 ✓
Gasbag 17/12/’24 ✓
Gee, I’m An American (Betcha, by Golly, I am!) 20/1/25 ✓
Glittergirl 1995 ✓
Go! 18/2/’24 [appears twice!?] ✓
Great Snakes 30/5/’95 ✓
Green Drift 26/6/’23
Grim, Grey, Rainy Day 13/2/’24? [appears twice!?] ✓
Guyhirn Pond 4/3/’25 ✓
Haiku 4/7/’23 ✓
Have They Got Gills? 11/10/’23 ✓
He Was A Beautiful Man (for Chris Dedrick) 30/1/’14 [appears twice!?] ✓
Heaven & Hell 4/6/24
Herbie 5/3/’25 ✓
Hobo Blues 25/9/’24 ✓
Human 7/7/’95 ✓
Icarus Unheeded 23/7/’24 ✓
Illusionism In Flatland 14/10/23 ✓
I’d Rather Be Asleep 20/1/25 ✓
I’m A Man 16/4/’24 ✓
I Wish I Was A Cat 4/6/’24 ✓
Juice ‘95 ✓
Just Now 23/7/’24 ✓
King Cock & Queen Cunt 11/11/’23 ✓
Kiss Collapse 1995 ✓
Lemon Moon 4/11/’23 ✓
Lit A Fire 14/10/’23 ✓
M [Err] ?/’25 ✓
Man In A Chair 10/7/’24 ✓
Mel 11/10/’23 ✓
Mind & Body 8//2/’25 ✓
Miracles of Jesus Couriers! 13/2/24 ✓
Miserable 5/3/‘24 ✓
Monday 30/10/’23 ✓
Morning Glory 14/10/23 ✓
The Muse 11/10/’23 ✓
Natural High 21/1/’25 ✓
Need It Now (MISLABELLED AS ALCHEMISTS TOOL KIT!) 11/11/23 ✓
New Grooves (for Old Hoofs) 13/2/‘24 [appears twice!?] ✓
Nonsense Verse 1 20/9/24
Nothing 4/6/’24 ✓
N to the MF O! 2/1/‘25 ✓
October Scorcher 9/10/’23 ✓
Oscillations 11/10/’23 ✓
Percussion 1995 ✓
Picking Daffs 4/3/’25 ✓
Pigeon 12/8/’24 ✓
Poetic Mind 23/7/24
Po’ John 22/10/’23 ✓
Pote-ry; Trad, Free Jazz 11/10/’23 [appears twice!?] ✓
Pure Love ’95 ✓
Put It Down 1995 ✓
Quotidian 11/2/‘24 [appears twice!?] ✓
Rain 13/10/23 ??? ✓
Rain 16/5/24
Rainy Day 18/2/’24 [appears twice!?] ✓
Rampant Wounded 3/4/‘25
Red Eye Express 14/1/24 ✓
Revelation 31/12/’23 ✓
Reworked Lord’s Prayer 2024 ✓
Roll On (And On) 19/9/96 ✓
Running, Skipping, Jumping 23/8/’24 ✓
Same Ol’ Fool 21/1/’25 ✓
The Sea 6/1/’25 ✓
Shattered 3/3/’23 ✓
She gets to have her cake & eat it… 9/10/’23 ✓
[Shoshijj (29/9/’23) too silly?] ✓
Silly Syllables ‘95 ✓
Sirens of the Classroom (10/4/’23) ✓
Sky Within 17/10/’13
Something Good 1995 ✓
Spazz Dance 19/2/24 ✓
Storied 26/9/’23
Sun Ra Gave Me… 22/3/25
Sun Shines 21/2/’95 ✓
The Tears Don’t Come Any More 21/9/’23
Teresa 12/10/’23 ✓
That Great Escape 12/5/’24 ✓
This Life 15/11/’23 ✓
Three Holes 11/10/’23 ✓
Time Has Cum (To Take Myself In Hand) 24/1/‘25 ✓
Toffee n’ Coffee 19/2/’24 [appears twice!?] ✓
Traum(a) 11/10/’23 ✓
Triumph of the Machines 31/10/’23 ✓
Troublesome Words ‘95 ✓
Turn [mislabelled as Storied (26/9/’23)]
Two Trees 16/10/’23 ✓
Untitled 1995 ✓
Untitled II ‘95 ✓
Walking Dead 13/4/’23 ✓
World Gone Mad 2/12/’24 ✓
The Worst kind Of Fool 9/2/‘24 ✓
Wounded Soldiers 30/11/’22 [appears twice!?] ✓
Wrestled 7/7/95 ✓
Xmas Jumpers 19/12/’23 ✓

MUSiC: Night Glider, ‘Groove’ Holmes, 1973

One of a three-fer set of CDs that arrived some while back, comprising: Night Glider, New Groove and American Pie, all on the Groove Merchant label (reissued on CD, in Japan, 2018-19).

Real ‘grits n’ gravy’ type soul jazz. A style that I simply adore. Joyful, sometimes quite rambunctious, but always dripping with, well… soul. 

And do they groove!? Hell, yeah. Never was a player more aptly named! It may seem odd that there should be organ, electric piano and guitar. But these guys never get in each other’s way. 

It’s quite a full and saturated sound, what with the congas and bongos, in addition to trap drums, plus the three chordal instruments, topped off with a horn duo…

Boy does it ever have energy!

TRACKLIST:

Night Glider (Ott) 5:20
Fly Jack (Ott) 3:34
It’s Going To Take Some Time (King/Stern) 4:30
Pure Sugar Cane (Holmes) 4:59
Go Away Little Girl (Goffin/King) 5:32
One Mint Julep (Toombs) 4:55
Young & Foolish (Hague/Horwitt) 4:22
PERSONNEL:

‘Groove’ Holmes - organ
Seldon Powell - tenor horn
Garnett Brown - ‘bone 
Horace Ott - electric piano
Lloyd Davis - guitar
Paul Martinez - bass
Bernard ‘Pretty’ Purdie - drums
Kwasi Jayourba - congas & bongos

MEDiA/FiLM: It’s a Mad Mad Mad Mad World, 1963

The film starts with what very quickly feels like an interminable theme song, over a black screen. And then launches into a long Saul Bass directed animated sequence…

Saul Bass’ titles.

The Bass bit is poss my favourite part of the entire film?

It’s a ‘comedy epic’, of sorts. It’s unarguably epic, length-wise. It even has an Intermission! Comic? Well, I did laugh occasionally. But it’s more shouty than funny. 

Madcap? Yes. Chaotic? Yep. Fun or relaxing? Erm… I’d have to say no, neither.

Like the title song, it’s an ordeal. How long can they keep this up? Especially when the plot-driving McGuffin is so quintessentially American, in the worst way: it’s about money, and it’s so insubstantial as to not really exist at all. 

In that respect the film lives up to its title. It’s zany, and screwball. It’s a demolition derby. And it’s entirely pointless. Worse still, it might well give you a migraine, with all the shouting. 

I don’t suppose – given the ‘stellar’ comedy cast – there were auditions. Had there been, one imagines they would’ve simply been shouting matches. With a bit of grimacing and gurning thrown in. 

A production still…