the hurt locker and the “fog of war”
Just watched The Hurt Locker on pay-per-view, and sure it’s wonderfully exciting and slick. But the other thing it is, or rather does, is the same pernicious thing that “higher quality” American war films, films thematically-centered on the “ambiguities of war” have been doing for decades. That is, it repeatedly puts the viewer through the most baffling aspect of counter-insurgent combat – the serial inability to discern enemy combatant from native non-combatant, the guy peddling counterfeit DVDs from the guy strapped with plastique, the “good guy” family man from the terrorist plotter, the corner-working prostitute from the would-be assassin. In focusing on these moments of indiscernability, it trains its audience not in the art of making split-section distinctions (because films are wired to surprise – thus your best guess will always be a wrong guess) but in the fact that such distinctions can’t in fact be made.
I have no doubt, in other words, that The Hurt Locker captures (albeit, I’m sure, in a cinematically intensified form) something of what it feels like to be an American soldier in Iraq. I only worry that the visceral training that it provides means something different to the GI in the field and the citizen at home seated in the court of public opinion.