Rated R(Restricted)
What would have happened if Staff Sergeant William James (Jeremy Renner from The Hurt Locker) died in action? Who would notify the family? Who would have to take the bullet? Who would have to watch a family member of the deceased crumble emotionally as you just starred at them impassively? The Messenger tells us just that--honestly and disturbingly.
The Messenger seemed to remain on the down low for the majority of its theatrical release, which isn't really a surprise. After all, its plot revolved around two military men (not exactly a new topic) and it was only a limited release. However, The Messenger began to gain recognition once its co-star, Woody Harrelson, gained an Oscar nomination for his role. After viewing, I cannot seem to find one reason that I wasn't hearing praises about it from the very beginning.
The Messenger features the story of staff sergeant Will Montgomery (Ben Foster) who, upon returning from war after suffering injuries in an explosion that killed his friend, his soul is clearly tainted with war's destituteness, leaves his enlistment and is assign to join the Casualty Notification Team with Captain Tony Stone (Woody Harrelson - who well-earned his Oscar nomination here). Quite simply, "The Messenger" deals with the grief that comes from the losses suffered and horrors experienced during the war. Will is marked to be a hero by his fellow countrymen and by his military, yet he doesn't see it that way. He sees it that he was the cause of his friend and comrades death. "The Messenger" is solidified on a universally set level ground as the film doesn't try to glorify the soldiers, but rather brings the audience into their world and their own screwed up lives while at the same time paints a depressingly accurate picture of victims' grief. As Will starts to witness the horrible experience of informing family members of their son/daughter/husband/wife's death, he begins to realize that the horrors of war don't end overseas.
Take notice that The Messenger occurs entirely off the battlefield; the only thing we have to fear is fear itself in this film. The aspect of having to tell a family that they will never see their child again. Unlike The Hurt Locker (a superior achievement on war's blatant truths) The Messenger is a much more subtle take on the purpose of war. Woody Harrelson and Ben Foster portray their characters as completely impassive soldiers. They have an emotional soul, but it is burdened under this job they have to take on--being a messenger, or as the receiver would probably claim, the grim reaper. The Messenger works so well in its effortless attempt to sear you emotionally. The Messenger doesn't work so well when it takes on a contrived love story in the second half that makes the experience only marginally worth it.
The characters of Will and Tony are perfect contrasts to one another. Will is presumably shaken from the war and heartbroken over the fact that his girl left him when he was overseas. This plays a large toll on Will as throughout the movie he doesn't hook up with any girls, yet he starts becoming romantically interests in a new widow (one of the women that Will and Tony had to inform about the death of her husband to). While the romantic interest may seem low to some, Will and the widow, Olivia Pitterson (Samantha Morton) are able to connect with one another as both are victims of the war and both are somewhat able to ease each other's pain. Likewise, Will seems to have more of a connection towards the human emotion as he proves when he ignores protocol and makes contact with a husband and wife while consoling them over the news of their son's death.
On the other hand, Tony claims to be all militaristic; however, once the job is over he becomes as human as possible. Since he doesn't have as humanly a connection with others, he starts to rely on Will and a friendship begins to form. For a while, the friendship seems like a one way street as Will always seems to be looking out for Tony (as Tony has a drinking problem and a case of either pent up aggression or anger management issues); however, there is an obvious connection and common understanding between the two by the climax of the film.
Aside from its expressive realism, "The Messenger" features a phenomenally constructed cast and beautiful writing. As the film progresses, the audience becomes aware that "The Messenger" isn't really telling a story or portraying a sequence of events, but rather bringing the viewer into the lives of the two soldiers are the victims that they must inform. The writing is what gives the film its strong sense of Earthliness and profound realism.
The first quarter of the film is a deconstructive depiction of delivering those dreadful KIA letters to the next of kin. A battlefield of emotions perhaps. Each set piece involving the letter is completely different in its emotional portrayal. The reactions are all different. One reacts in denial, the other (played surprisingly brilliant by Steve Buschemi) verbally assaults the two soldiers claiming them of cowardice, and one other shakes their hand understandably of how tough this job must be. And it really is--Stone, when he's not playing messenger, drinks his life away at a bar and solicits hookers. Apparently war gives you demons even when you leave the battlefield.
Montgomery meets a war widow named Emily (Lisa Joyce) and their self-pity develops into intimacy. I get that complex addition but what's the attraction? What pulls them together? There are hundreds of war widows in the U.S. but what draws those two together? This is never really explained and this change in narrative develops into soap opera story on torn people finding each other in hard times. Moverman knows what he is doing here; his dialogue between Emily and Montgomery is tight--bleak, pitying, and tense. Perhaps these two just need each other, their love escapes them from the horrors of reality. But for the audience, they'd rather escape this part of The Messenger.
The last forty minutes will be a tough watch (not in a good way). The film, instead of conveying bleakness, becomes only that. Montgomery incessantly pursues his ex Kelly (Jena Malone) but his drunken quirks pull them apart. His inner demons have taken him down a path that only the hurt can follow.
The Messenger thus is a honest and powerful depiction of the very same name. Expect to see two actors at their best and story dressed in an effortless attempt to tamper with our emotions without ever begging. The Messenger is a film you want to lose yourself into, but once Moverman makes the devastating lapse to incorporate a love story, the film dwells on the edge of melodrama when it really doesn't need to. A love story has never been so unanticipated and unwelcoming. But heck, when does anyone anticipate the arrival of the messenger?
I SAY-See It--emotionally tenacious but it falters under its own bashfulness.To sum up, "The Messenger" is a film that is worth checking out. It doesn't try to be superficial, glossy, or sugar-coated, but rather keeps all its characters and situations on an equal level; portraying the film as a dive into the lives of actual people rather than a sequence of events that make up just another story from an obviously artificial and fictitious mind state.
I give 60% fresh for this movie.
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