‘I’m sorry, but I still think Rowling peaked with Goblet of Fire’ — the ever-stoic Tommy Lee Jones plays a father investigating his son’s disappearance in Paul Haggis’s In The Valley of Elah
There's a surprising amount of comedy in the new Paul Haggis military drama, In the Valley of Elah. It's a merciful way of handling the delicate and murky emotions that surround the U.S. occupation of Iraq, and Haggis offers an unbiased — albeit dark — view of a no-win situation.
Taking its title from the biblical valley in the tale of David and Goliath, the story unfolds through the eyes of Hank Deerfield (Tommy Lee Jones), a grief-stricken father and former army investigator determined to uncover the truth about his son Mike’s (Jonathan Tucker) disappearance. Jones is the backbone of the film, deftly toggling his character between comedy and tragedy.
The early scenes reveal a mediocre and bland America with bleak skies and dank houses. The constant drone of President George W. Bush and pro-war advocates bleat from televisions in diners and stark hotel rooms. When Deerfield begins to realize his belief in the military as a righteous entity saving Iraq from itself is misguided, the background noise is replaced by soundless images from a boxing match. His awakening makes for compelling viewing and Haggis directs the progression subtly, with little or no fanfare.
Heavily pixilated, blurry video footage from Mike’s cellphone is used to further the plot, which also serves as a metaphor for the frustrating lack of clarity in the media coverage of Iraq. It’s annoying to watch, but also riveting.
Deerfield’s long-suffering wife Joan (Susan Sarandon in a brief but compelling performance) conveys the consumptive grief and self-righteous indignation that only an army mother could exhibit, and her telephone conversation with her husband is one of the most striking moments of the film.
Charlize Theron as detective Emily Sanders is a welcome surprise, portraying grit and determination despite her delicate features. Watching her grapple with misogynistic co-workers while attempting to find the truth is both frustrating and rewarding.
Lt. Kirklander (Jason Patric) expertly conveys the chilled reserve required to function in his role within the military, and he deflects all attempts to get inside the heads of his men for as long as he can. Ultimately, there are no answers offered here, only a bleak portrayal of a hopeless conflict with no end in sight. Instead, we’re left to find hope in the film’s brief moments of comedy and compassion.
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