Black Hawk Down

I'm not a fan of war movies usually,but when i sat down to watch Black Hawk Down,i couldn't turn it off.Heres a war movie which doesn't sugar coat.There is no crappy dialogue,no soppy love story tie ins,just the real deal,brutal battle scenes,the gruesome reality of war.Black Hawk Down is based on a true story,the bloody battle at Somalia and it leaves one drained.Its confronting,and exposes war in its true light-there's nothing glamorous to see.In two hours and a bit the viewer is able to imagine being there at the horrible battleground,and suffering like the soldiers did.It really makes you appreciate how lucky we are to be in a free country,relatively peaceful,and not having our lives threatened every second of the day.Everything about BHD is right; the setting of the film,the Somalians,the American soldiers going through hell,the brutality,the battle,the

fatalities.Not for the faint hearted,or weak stomached,but a truly powerful,compelling motion picture.Ridley Scott takes the viewer on an imaginative journey through Black Hawk Down and appeals to our emotions.A brutal,yet bearable war film.

I vividly remembered the news reports in October 1993 of the body of an American serviceman being dragged through the streets of Mogadishu following the battle there . A couple of years later my interest of the battle was rekindled by an edition of the BBC`s excellent history show TIMEWATCH that spoke to the survivors of " The biggest firefight involving American troops since Vietnam " , so when Mark Bowden released his book BLACK HAWK DOWN I opened the first page and found myself unable to put it down , and when I heard Ridley Scott was going to bring Bowden`s book to the big screen I was looking forward to seeing it

I did enjoy the movie and have to take issue with some of the comments raised . First of all people complain about events and incidents being changed , I know how you feel but with any adaptation there`s bound to be bits condensed , the only real criticisms that can justified is that this film version totally negates the Somali point of view ( For those of you who haven`t read the book Mark Bowden writes his account in a similar subjective manner Corneilus Ryan wrote his trilogy - two of which THE LONGEST DAY and A BRIDGE TOO FAR were made into blockbuster movies - dealing with the last months of the war in Europe ) but Bowden`s book is an account of the battle of Mogadishu , that`s what it is - An account that doesn`t really concern itself with wider issues like politics or anti-war sentiment , so it seems churlish to complain about concepts like character development because that`s not what the story is about . I`ve also heard teenage girls complain that Orlando Bloom doesn`t get enough screen time and that they found it too violent . I`m sorry to hear that girls , hopefully next time you go to the cinema you might like to find out what you`re letting yourself in for . As for the rest of the screenplay it is accurate right down to the friction between the Deltas and the Rangers and the fact the Americans were actually rescued by a UN force composed of Malaysians and Pakistanis

Ridley Scott rightly deserved an Oscar nomination with BHD . It`s his movie and he surpasses anything Spielberg achieved with the overrated SAVING PRIVATE RYAN . War is hell and this is a film of stark and haunting imagery of victims of famine , of mutilated soldiers and civilians . Both editing and cinematography are superb with many great scenes like the small stream of American soldiers walking up the street while on the other side of the houses a massive torrent of armed militiamen are walking in the same direction . My only real complaints of what`s on screen is Ewan McGregor`s awful American accent ( It`s especially so when you stop to consider that most of the cast aren`t played by American actors )and Hans Zimmer score resembles that of most of his other movies , but I shouldn`t nitpick because I found this Scott`s best film alongside GLADIATOR

I've been watching this movie and its accompanying extras on DVD this week for the first time and I thought is ironic that this very American war story should be directed and produced by an Englishman (Ridley Scott) and have a large number of British actors cast as the American servicemen (Ewan McGregor, Jasson Issacs, Hugh Dancy, Euan Bremner, Orlando Bloom.) I suppose it's the equivalent of Steven Spielberg directing a film about the Battle of Goose Green during the Falklands War and casting Americans as members of the Parachute Regiment.

Scott's movie is quite brave in that it has no major stars and no central character (unlike, say Tom Hanks in SAVING PRIVATE RYAN or Mel Gibson in WHEN WE WERE SOLDIERS). It's also largely free of the clichés of the genre: no soaring John Williams score accompanying shots of the flag fluttering in the sunlight; no scenes of the families back home. Instead its all about the logistics and the absolute horror of battle. This is the best combat footage since ZULU way back in 1964, a film which it resembles. In Scott's commentary description words, it is 'Anti-War but pro-military'.

While the theatrical cut still resulted in a meaningful film, it irked me originally in the theater and then again recently upon seeing it again that very significant moments from the original Philadelphia Inquirer articles were left out. It was as if someone hadn't just forced Ridley Scott to cut the film down for time, but to de-emphasize the disparity in training and personalities between the Tier One units and everyone else. Was it because they wanted the Rangers to do interviews and go on the talk circuit to help publicize the film? Regardless, the Extended Edition adds back footage I had no idea they bothered to even shoot. The only big thing missing is that Delta medic Earl Fillmore isn't a character, but I assume his family wasn't interested in him being portrayed at all, which is unfortunate. In the Extended Edition, Wolcott instead serves the Fillmore role of reassuring someone and then himself becoming an early KIA. In fact, Fillmore was killed while moving to Wolcott's crash site. So, this was a very smart and fitting proxy. The theatrical cut is, frankly, an inexcusable version that no one should be watching when the extended exists.

Black Hawk Down is first and foremost an immensely effective war film, but beyond that, its one of the most subtly differently made war films ever. Most war films usually either have a single hero through whom we see everything (i.e. Platoon), or present us with a squad of soldiers, all of whom are identifiable "types" (i.e. Saving Private Ryan). Black Hawk Down takes a different approach, instead giving us a very wide array of characters, none clearly singled out as a hero or type to command the audience's attention. The general effect is to create that feeling of a team army that George C. Scott so ardently expounded to us at the start of Patton. Furthering this feel of military professionalism, the film never cheapens itself by putting too much emotional weight into one moment. The plot moves ahead at a constant pace, cutting from location to location, without slowing down to focus too much on individual soldiers. The effect is of watching documentary footage of a real military operation gone wrong. While the effect of this scripting approach may produce some detachment among viewers on the first viewing, it makes the film all the better on subsequent viewings.

And you'd better believe there will be subsequent viewings, because Ridley Scott has created one of cinema's all-time great pieces of eye candy here. The editing, cinematography, grading, scoring and visual effects all combine to leave a viewer just as drained upon leaving the theatre as these soldiers were on leaving Mogadishu. The intensity of this film's combat is easily equal to Saving Private Ryan, and leaves such pretenders as We Were Soldiers behind in the dust. Black Hawk Down lacks the former's emotional resonance, but unlike the latter, it thrives on the fact, creating a final product as mind-challenging in its construction as it is mind-blowing its visualization.