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QT's film is a contrast to the Iraq bomb disposal film in almost every way: one is comedic, falsifies history, and flamboyantly cinematic; the other is tragic, attempts to be cinema verite, and uses documentary style - but both are about bands of wild (and less wild) American soldiers fighting on the margins of the acceptable. The Hurt Locker is one of my favourite films in a long time, mainly for how its main character mushrooms from villain to enigma to existential hero to symbol. And what a symbol - the last scene, and frame, of the film is one of the more indelible in cinema - quasi-sci-fi and weirdly life affirming. One has to go back to Yeats' poems of life-in-death and warfare to find such a disturbing portrayal of the ambiguous power and beauty of combat, suffering, even facing death. QT is wrong to think cinema is for violence only or mostly; cinema is for the poetry of life and death. Which is violent but more mysterious and deeper too.
{Meanwhile, those looking for Gun Crazy style noir and Marxist historical film-making with the gravitas of Costas-Gravas should consider viewing the recent German classic, The Baader-Meinhof Complex, which arguably glamourises - yet contextualises - the Uzi-toting killers - by rendering them as young and charismatic and deranged (and angry) as they actually were. As one of the lewdly sunbathing gang says, to an astonished Palestinian in a desert training camp, "guns and sex are the same".}
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