Break for Bigelow

I saw this 60 Minutes/Kathryn Bigelow teaser at Awards Daily and copied the code– big deal. Leslie Stahl and crew shot most of her piece during the Santa Barbara Film Festival. This is almost the only Hurt Locker uptick after all the “get the front-runner” potshots that happened this week — i.e., the Nicolas Chartier thing, Martha Nochimson‘s dig at Bigelow for not being a womanly-enough filmmaker, and the military authenticity nip-nips.

7 thoughts on “Break for Bigelow

  1. Glenn Kenny on said:

    I doubt that the Nochimson piece is going to have much impact, aside from setting a breathtaking new standard in triple-standard twaddle. The proposition that Bigelow ought to understand that her place is with Ephron and Meyers is remarkable on many levels. Also, beware of any film writer who celebrates the “life affirming.” And an academic, at that!…

  2. That’s an excellent point, George Prager. I was gonna compose a rant about it myself, and while I can’t claim to be the traffic generator our fellow Jeff is, I reckon I might have pushed those page views up just a little. So I’ll refrain from going to the trouble, and just chuckle privately imagining what this cretin Nochimson makes of Ida Lupino’s directorial career…

  3. There was an Explosive Ordnance Disposal tech in the audience at the US premiere at SXSW last year. His “question” to Bigelow, Boal, and actor Brian Geraghty was sincere thanks for bringing more attention to his job.

    I spoke to him after the screening, and in the interest of just double-checking what could have been a convenient plant, I asked how he found out about the screening. He said he’d been hoping to see it after hearing about it being out there, and was conveniently on leave and made his way there.

    When asked by me, he acknowledged that there were some “poetically licensed” portions of the movie (the nighttime dash off-base and a couple of others), but that life over there is not as by-the-book, black-and-white as the official word would have anyone believe. Just like with any war zone, poetic license is what got us there (my thoughts, not his).

    What he felt Hurt Locker did really well was bring light to one of the most important specializations in modern warfare and how not only are the “robo-soldier” adrenaline junkies re-re-enlisting, but so are guys who know that no one else can just hop in the suit and do their job. I think it really says something that the most that can be mustered against the movie are little more than schoolyard insults.

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