Review #1521: Three Kings.
Cast:
George Clooney (Major Archie Gates), Mark Wahlberg (Sergeant First Class Troy Barlow), Ice Cube (Staff Sergeant Chief Elgin), Spike Jonze (Private First Class Conrad Vig), Cliff Curtis (Amir Abdullah), Nora Dunn (Adriana Cruz), Jamie Kennedy (Specialist Walter Wogeman), Saïd Taghmaoui (Saïd), Mykelti Williamson (Colonel Ron Horn), Holt McCallany (Captain Doug Van Meter), and Judy Greer (Cathy Daitch) Directed by David O. Russell.
Review:
"I just love real characters; they're not pretentious, and every emotion is on the surface, they're regular working people. Their likes, their dislikes, their loves, their hates, their passions; they're all right there on the surface."
Some people are cut out for writing and others are cut out for directing. David O. Russell found his way into both through filmmaking that elevated him to rising star in the 1990s. A graduate of English and political science from Amherst College, he had worked a variety of odd jobs after graduation that ranged from community work to teaching. He did some work with documentaries and shorts (having found inspiration from classics watched such as Chinatown), such as with Bingo Inferno: A Parody on American Obsessions (1987). He was given grants to do a feature involving fortune cookies and microphones in a Chinese restaurant that he would instead use to do Spanking The Monkey (1994), debuting in feature films at the age of 36. The film was originally written by John Ridley (a standup comedian who later turned to writing for television along with novels), who wanted to experiment in making and selling a script in very little time; the script was done in a week and it was bought eighteen days later. However, Russell (brought in for his first major studio film) would do his own writing changes to the draft, and Ridley had to go through arbitration to get a story credit.
There had been quite a share of war films over the 1990s, but this sticks out as one involving the Persian Gulf War (1990-91); a war film involving a heist has been done before with films such as Kelly's Heroes (1970, which involved AWOL soldiers getting gold bars out of a bank vault). Russell accomplishes a distinct war film with its look, involving vibrant color though Ektachrome transparency stock (noted for its distinct look used for photographers like National Geographic) and one-shot explosions that was shot in the desert of several states such as Arizona that featured Iraqi refugees as advisors and extras. It is a reckless film that makes the best out of touching upon the consequences and spoils of war with a balance of humor and humanity that makes for a fairly clever movie that benefits from a formidable main quartet that shows its disconnect between war and the reality that comes from its perceived end without becoming absorbed in cliché or lingering on the soapbox too long. Clooney got the part after actors of various age targets were thought of/approached (such as Clint Eastwood and Nicolas Cage). He does a commendable job here, curious in a burnt-out stage of cynicism and lost values that we gravitate to with smoothness in a journey that means most to filling in the layers the film seeks to show through heist and war. Wahlberg does fine with being the middle man, an observer of being done from war on both ends with a careful brow. Rapper-turned-film star Cube makes the most of his time in conviction in handling the tension presented in faith handily. In the same year that Jonze debuted as a feature film director with Being John Malkovich, this was his first (and so far only) prominent role as an actor, doing so in a part that was written for him as a way to shake things up from the established actors, which he does in adequate comic relief. Curtis does well with providing perspective for what we know (or think we know) about the people around a simple trek for gold, which applies just as well for Taghmaoui in his scenes against Wahlberg. Dunn provides hard-edged zeal as the eyes of a fleeting moment, while the others in the cast do fine when needed.
On the whole, the film pulls itself off well within 114 minutes in delivering a clever film on the other sides of war beyond just the battlefield through a game cast and well-timed movement in pace and timing that make it as bitingly endurable as fellow war film M*A*S*H (1970) with its own style and presence worthy for its time of 1999 that still sticks a punch now.
Overall, I give it 8 out of 10 stars.
