With its gripping portait of the SEAL Team 6 raid to kill Osama Bin Laden, Zero Dark Thirty joins the ranks of recent films that reflect Hollywood’s love for special operations derring-do. I’m thinking of Act of Valor, which isn’t even set in Iraq or Afghanistan (that’s curious right there) and which has racked up a not-so sterling 25% approval rating on Rotten Tomatoes. I’m thinking of The Objective, a little known and undeniably loopy sci-fi war film that tracks a Special Forces mission gone terribly wrong in Ghazni Province, Afghanistan. Against such lame competition, it’s not hard for Zero Dark Thirty to excel. The pleasure is exactly how well the film captures the testosterone-infused chill of the SEALs as they lounge around their base camp and their easy-going professionalism when they swing into action.
The one funny line in all of Zero Dark Thirty comes from the mouth of a SEAL team member midway through the raid in Abbottabad. “I forgot,” he jokes just before the final assault, “was crashing a helicopter part of the plan?” Perfect.
Hollywood’s interest in special forces operations mirrors a truth that vexes national strategy debates and on-the-ground operations in theater. Counterinsurgency, nation-building, and drone strikes are all good, in their way, but dark side snatch-and-grabs are far sexier and arguably more effective.
So, in the midst of all this special ops love I eagerly await the arrival of the film version of Marcus Luttrell’s Lone Survivor later this year. Starring Mark Wahlberg as Luttrell and Taylor Kitsch (of Friday Night Lights) as the magnificent Lieutenant Michael P. Murphy, and directed by Peter Berg (also of Friday Night Lights), it has a chance to be really good, or at least really interesting. Lone Survivor is the story of a SEAL mission in Afghanistan in which Lieutenant Murphy earned the Medal of Honor. The mission cost three of the four SEALs involved their lives. No disrespect to Lieutenant Murphy—it’s when things go wrong that heroes emerge—but the irony of Lone Survivor’s reception as an American success story should not be lost on a filmmaker as talented as Berg. With Lone Survivor, we might begin to get the human and tactical sides of special operations in some of their complexity.
Then again, Berg also directed Battleship, which like The Objective tried to combine the movie genres of war and science fiction and failed just as miserably. What’s up with that???