THE MESSENGER
Countless war films have featured the scene where two officers come to the door to inform a family of the death of their child in combat. But rarely do we get a glimpse of what these officers go through in the process of informing families of such tragic news.
In The Messenger, Ben Foster and Woody Harrelson play two soldiers who are recruited to criss-cross the country, informing one family after another of the death of their children. This is especially difficult for Foster’s Will, who narrowly escpaed death in Iraq and must now deal with tremendous guilt as he discusses the deaths of others. In his travels, Will attempts to construct a normal life again, his hopes pinned on a grieving young widow named Olivia (Samantha Morton).
Director Oren Moverman keeps the film grounded and very low-key throughout; there are very few flashy moments, and this allows the film’s ragged emotions to feel even more delicate and true. This is not a war film, but rather a careful character study of rage, guilt, and hope. The characters are treated with respect by Moverman’s direction, as well as the measured screenplay by Moverman and Alessandro Camon.
Anyone who thinks of Foster only as the winged dude from X-Men 3 is in for a shock. Foster delivers one of the best performances of 2009 as Will. It is a complex, layered performance full of machismo, swagger, and heartbreak. Harrelson is less convincing as Will’s Captain, although his jutting, chiseled jaw and worn face bring a certain toughness to the standard role. The ending, though, allows both men to shine in a simple scene that brings out so much depth in their individual feelings as men and officers.
By necessity, the film feels episodic; the two men travel from place to place informing one family after another. Some interest is created in the various reactions of family members to the news the two men bring. A standout moment comes when the two inform Dale Martin (Steve Buscemi) that his son was killed; the anger pouring from Buscemi is palpable and realisitic. Overall, though, Moverman manages to avoid bogging the film down with this repetitive device, and the performances also help overcome the repetitiveness of the screenplay’s mechanism.
With a glut of Iraq films crowding the theater these days, The Messenger stands out as a thoughtful, tough, and insightful portrait of the ravages war inflicts on the men it enlists.
