Haggis Wins In the Valley of Elah
Low-Key Elah Administers the Antidote to Crash's Melodramatics
"In the Valley of Elah," Paul Haggis' written and directed follow-up to 2004's Oscar-winning "Crash," eloquently attacks the Iraq War, powerfully led by Tommy Lee Jones.
It is uncertain why films about Iraq have failed so miserably at the box office. Whatever the reason, one thing is certain: the people who do see the movies about Iraq seem to have pretty violent opinions about them one way or another, pro or con. The fact that these films spark so much passionate debate is remarkable and encouraging.
War on Film
Even if the passion doesn't translate into box office numbers, these films are affecting people. It's crucial that filmmakers keep making movies about Iraq. Some films are great (scathing documentary No End in Sight), others misfires (Brian De Palma's muddled Redacted), but they're all equally valid and important, while not equally successful.
Crash into Elah
Unfortunately, sometimes the most important films are the ones that nobody sees, like 2007's In the Valley of Elah, written and directed by Paul Haggis. This is one of the year's most underrated films. It's a very polarizing movie, just like Haggis' previous writing/directing venture, Crash. Some people think Crash is genius (obviously the Academy did), but it is aggravatingly melodramatic. It plays one note the whole time: racism is bad. The characters are unbelievable caricatures, and every scene is a yell. With In the Valley of Elah, Haggis has rightfully adjusted his technique. Every scene in this film is a whisper. When people whisper, it makes the viewer want to listen more carefully.
Jones Sets the Tone
This new approach was undoubtedly influenced by Tommy Lee Jones' low-key persona. Jones is known for his quiet, brooding, stoic, almost regally dignified roles. He can convey more with his eyes than most actors can with their whole bodies. Jones plays Hank Deerfield, a war veteran who has sent two sons off to war. He already lost his oldest boy, and now he finds out that his son Mike has gone missing since returning from Iraq. Hank basically takes the investigation into his own hands, aided by a sympathetic cop (Charlize Theron).
Filmmaking at Its Finest
The plot description stops there, because besides being a gut-wrenching drama, this film is also a fabulous mystery. The filmmaking is astonishing. This is an excellent script by Haggis. His directing has evolved, and he shows more restraint and finesse. The cinematography by chameleon Roger Deakins (who also photographed 2007 releases No Country for Old Men and The Assassination of Jesse James by the Coward Robert Ford) is beautiful. Deakins is one of the best in the business.
An Acting Seminar
The acting is exquisite. Charlize Theron is simply outstanding as one of the strongest positive female characters in recent years. Tommy Lee Jones is even better in Elah than No Country for Old Men, which says a whole lot. He's so subtle and has one of the most expressive, compelling faces. Jones is an acting giant and deserved his Oscar nomination.
Stars and Stripes
The film's only flaw, and a very minor one at that, is the use of an overly dramatic, corny song over the last minutes. Haggis should have more confidence in his work to let it speak for itself instead of trying to force emotions. With Elah, the emotions are already there. The final shot is haunting, and the use of the American flag has never been more meaningful in a film.
Elah captures the horror and the humanity of the Iraq War in honest, moving, and painful ways. This is the best film (non-documentary) about Iraq yet. In the Valley of Elah is a triumphant victory.
Rating: ***** (out of 5)
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