In the Valley of Elah Review
Posted by Chad Webb on 09.18.2007
Haggis’ follow-up may give him more statues.
Tommy Lee Jones: Hank Deerfield
Charlize Theron: Detective Emily Sanders
Jason Patric: Lt. Kirklander
Susan Sarandon: Joan Deerfield
James Franco: Sgt. Dan Carnelli
Barry Corbin: Arnold Bickman
Josh Brolin: Chief Buchwald
Fraces Fisher: Evie
Wes Chatham: Corporal Steve Penning
Written/Directed By: Paul Haggis
Release Date: September 14, 2007
Running Time: 121 minutes
Rated R for violent and disturbing content, language and some sexuality/nudity.
After all the debate on whether or not Crash should have won Best Picture, the fact remains that even though some might have disagreed with the final verdict, Paul Haggis’ ambitous hyperlink drama was still exemplary. In the Valley of Elah surpasses his previous effort, and is not only one of the best films of the year, but rivals The Best Years of Our Lives for elegantly exposing the dehumanization soldiers endure when physically and emotionally recovering from war. If Paul Haggis puts the same heart and dedication into his future projects that he has in these two, there is no telling how high he could climb.
The story follows ex-military cop Hank Deerfield (Tommy Lee Jones), whose son Mike has gone AWOL. When Hank receives a phone call explaining the events, Mike’s superiors inform the father that if he does not turn up, the soldier will be listed as missing. Hank immediately decides to get in his truck, and travel to Fort Rudd, New Mexico to unearth the whereabouts of his son, discover more facts of his disappearance, and comprehend his motives. While there, he meets Detective Emily Sanders (Charlize Theron), who is struggling with making progress in the case. Eventually, the remains of Mike are found, and Hank is faced with the task of digging through his son’s actions in Iraq in hopes of finding an answer to why he died so tragically.
This is one of Tommy Lee Jones’ finest two hours as an actor. The subtlety of his movements, and the stern gaze he carries with him through each scene is virtually impenetrable. What I noticed right away is the demeanor Jones instilled into the soul of Hank Deerfield. This is a man who just lost his son. In my personal family experience, I can relate to such a horrific death, and the way Jones maintains the same solid expression, obviously fighting back tears is exactly the way a father would react. This is intimate, gentle, and heartrending work from a performer who absolutely never lent a feigned moment. This is not just acting the part; it is a complete transformation into the spirit this individual.
Charlize Theron has always been a beautiful woman, but what is most attractive about her is how she selects parts that do not ever flaunt her looks (Monster, North Country). As Emily Sanders, Theron takes on the weight of a character that is doing everything in her power to help a persistent Dad, while continuing to stand tall against the mockingly sexist co-workers who evidently think she can’t hack it as a regular detective. Sanders is a normal woman, who reveals the wear and tear law enforcement unleashes with her messy hair, tired eyes, and frustrated deportment. This is not as memorable as Jones’ unwavering depiction, but Theron’s contribution bolsters the structure of this film in magnificent fashion.
The supporting performances are uniformly pungent and unaffected. Susan Sarandon does not overplay the grieving mother. She locates and stirs up the perfect channel by disclosing the pain of the parent by means of traits other than crying, screaming, or other exaggerated theatrics. Even in relatively minor efforts, James Franco and Josh Brolin are fabulously convincing as they live the position dealt to them. Not for one second, does any cast member seem as if they are “trying”. Haggis has evoked a distinct openness in everyone.
In the Valley of Elah unwinds like a routine mystery thriller, but what makes it different, unique, and stunningly poignant is how natural the people are who inhabit the tale. The dialogue is spoken as if it were happening in real life, not memorized from a screenplay. The lines float off the tongues of the characters with extreme ease. Take the scene where Hank is conversing with Corporal Penning. These men are talking about the benefits of wearing panty hose in cold weather, but with touchingly spontaneous freedom. This is just one example of how the interactions were prevented from being rushed or forced.
Many complaints have been made about Hank Deerfield’s abilities as he investigates the crimes against his boy. Besides his military credentials which are clearly articulated, step back and put yourself in his shoes. Wouldn’t you as a parent do just about everything imaginable to detect evidence and pinpoint leads in order to obtain closure? Sanders, and all the military authorities involved just want the case to run its course, and not gain negative publicity. That is why Hank’s advancements are so considerable. Focusing on how quickly Hank observes details is a one sided view. The journey of Sanders is vital as well. It is the mixture of these environments that gives Elah such a compelling stature.
Another common grumble is the unforgettable final image. The meaning of this was described early in the film, and the time in which it was finally unveiled was such a fitting exit to this masterpiece. It is not inept or clumsy, but poetic, delicate, yet potent all at once. This is most assuredly not the first motion picture regarding the efects of soldiers following battle, and it will not be the last. Yes, war does alter these men, and this is an accepted truth, but it has not, and will not ever be fully understood by those who have not been in the thick of it. However, In the Valley of Elah exposes those passionate sentiments with a caring hand.
The town has a silent and distant atmosphere that is eerie, yet innate, and the brilliant cinematography from Roger Deakins compliments this community so superbly. The haunting score from Mark Isham is heard in areas that do not beg for weeping or a particular emotion, but after Joan Deerfield finally glimpse her son’s charred corpse through glass. She and Hank walk down the hallway, away from their son, and embrace as two people who have just lost their second child. Haggis establishes a pacing that is slow and steady, yet methodical and thought provoking. He is patient, and it made such a substantial impact in the end.
An irreplaceable and intriguing sub-plot occupies an important space during In the Valley of Elah. Without spoiling this, just know it concerns the vexed wife of a soldier. She reports to the police that her husband just choked their Doberman to death. She wants him to get the psychological counseling he so desperately requires. This is where the message of Paul Haggis is so unmistakable. This is not just another prestige offering about the consequences of war in general on the troops. Elah addresses its audience to prove that something must be done for these traumatized men now. It is an urgent plea delivered as a superlative and significant fall submission.
The 411: It is such a shame that so many stellar films are only released in a limited capacity because this is one that the entire world should see. Writer/Director Paul Haggis is triumphant in his follow-up to the Oscar winning Crash. His technique is more relaxed, but that does not diminish the power In the Valley of Elah possesses. It might be a bit too early to proclaim this as award worthy, but I hope it receives some deserved nominations.
