Nella valle di Elah

And with the war still on, the theme of PTSD - Post Traumatic Stress Disorder - is topical and relevant. Shell shock, they used to call it. It is more than shells these days, of course - it is the killing of children and innocents which has an appalling and destabilizing effect on the young U.S. men and women soldiers engaged in Iraq.

Paul Haggis who has made Crash amongst other good films, tackles this difficult subject with sensitivity depicting the dehumanization of the soldiers who come home to an indifferent populace.

Hank Deerfield (played by Tommy Lee Jones) is a retired Vietnam veteran who investigates the disappearance of his son and comes up against the brick wall of military police. A sympathetic detective, Emily Sanders (played by Charlize Theron) slowly takes an interest in the case and negotiates with her superior officer to take the case back from the military police who want to brush it under the rug. When Mike Deerfield is found, dismembered and scattered, Hank commits himself to getting at the truth.

This film is not an anti-war effort but rather the facts are all presented, and one is left to come to one's own conclusions.

Tommy Lee Jones gives one of his best performances here, a relentless, humourless driven father, who has not been the best father, but doesn't rest until he finds the closure he desperately needs on the matter of the murder of his son.

Susan Sarandon was totally underused in the part of the mother of Mike, but the little we are shown of her is riveting.

Charlize Theron plays down her beauty to the degree that she wears bandages and bruises on her face through many of the scenes and ignores the rampant sexism of her unit. A great performance.

I didn't care for the Valley of Elah metaphor which is at the core of the movie itself. The David and Goliath story did not have a relevance to a story of PTSD and the horrific effects it has on both perpetrators and victims. So I am left puzzled at this symbolism. A little guy taking on a giant? Who would be the little guy? The Iraqis?

However, that vexation aside, for overall tension and the sheer watchability of Mr. Jones in a meaty role, this movie gets an 8 out of 10 from me.

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This movie is just about perfect. I love how it starts as a genre movie and then transcends into something deeper and soul-searching. Some people just don't like Paul Haggis, but I'm not one of them. I think he's very smart here; he has no political point of view, he handles Charlize Theron perfectly, and the movie forces everybody to think about the troops in a way that isn't simply political rhetoric. I love that Tommy Lee Jones feels the way so many dads do. He's never been better. Watching the police work happen is interesting on it's own, but I like that Charlize Theron is just out to do the job correctly and just shrugs off the chauvinism coming at her from her department. The movie could've gone somewhere with that, but instead just quietly lets us in on it and moves on.

There have been many very good movies the last few years about Iraq-related themes, but I don't think there is a film that captures the feeling of the national mood as good as this one. It's drained of melodrama and just sort of moves forward on really good performances of the whole cast, who all act according to their natures instead of because of stupid plot requirements.

Only Roger Ebert and the reviewer for Rolling Stone seem to see the truth here: this film is slow and elegiac because it deals with heavy matters, but it is never boring, not if you understand the situation and the depth of feelings being explored. It's as if reviewers don't get it because they didn't really feel what the film is saying. Saying that there have been dozens of films about how war ruins men so it's a cliché, and that this one is too dreary and slow means that a person has stopped feeling for what is really hurtful, is even in denial. And that's the theme of this film: what happens when we lose touch with what's painful and don't care any more. The film is restrained but powerful, which is why it has such a strong effect.

Jones is wonderfully grim, with a face like a road map, as he explores what happened to his son. Charlize Theron is beautiful even though she is playing a woman who is forced to act as non-sexy as possible to get on in her job in a male police force. Susan Sarandon is not, as some critic said, "underused"; she gives a performance that is all the more powerful because it is restrained. This movie should be a must see for all who believe that the Iraq war should continue until there is an honorable time for America to leave. That time is already passed.

I just saw this film and consider it to be one of the best anti-war films I've seen in quite a long time. And that makes me wonder at what the various critics are thinking. Roger Ebert gets it right, but some film critics are far too dismissive of a very serious, important film. James Berardinelli, in particular, seems curiously _angry_ that this film depicts the moral degradation of war in a frank and honest fashion.

Berardinelli is basically wrong in every single thing he says about the film. Since this film is not a "politcal message" film, it has no requirement to "show both sides equally". It is a story about a group of soldiers basically driven beyond the area of traditionally human behavior. Berardinelli thinks that it's "obvious" that war changes the way people feel about their country.

I sense a person utterly detached from history when I read that. A recent study concluded that the English were, as a group, fairly happy during WWII, even when their nation was under attack. Why was that? Because they believed in what they were doing. The notion that war _necessarily_ results in moral breakdown is, while hardly novel, also not true. That is part of what is important about "Elah". Jones' character is a veteran of the Vietnam war, and is hardly a delicate flower when it comes to the matters of war and its effect on the psyche. And yet even he is floored at what the Iraq war has done to the soldiers.

It is easy for a film critic to simply reject what is essentially reporting on the state of the military today. That Berardinelli does so with such vitriol makes me guess that he is injecting his own bias into the review.

Released in 2007 and directed & written by Paul Haggis, "In the Valley of Elah" is a crime drama/mystery inspired by the real-life case of Richard T. Davis. The story revolves around an elderly Tennessee couple (Tommy Lee Jones & Susan Sarandon) who get word that their son has gone missing from his base in New Mexico shortly after his return from Iraq. A retired military investigator, Hank Deerfield (Jones) goes to the base to find out the awful truth. Charlize Theron plays the civilian detective near the base who tries to help Hank while Jason Patric plays the Army counterpart. Josh Brolin is on hand as the town police chief.

This is a slow-burn mystery highlighted by great acting by the principles, especially Jones, and a thoroughly realistic story, which isn't surprising seeing as how it's based on true events. Speaking of which, I was surprised to find out that the basic details of the story are all accurate. The actual events took place in the Fort Benning area of Georgia rather than the fictitious Fort Rudd, NM.

The movie's not anti-Iraq War, but rather anti-PTSD; it merely reveals the awful truth about war in general: When we send our young men off to far-off lands where brutal warfare is normal they can bring that desensitized mentality back with them where the barbaric behavior that might be acceptable in war is anything but normal or conducive to a successful life, to say the least. Add the idiocy of alcohol abuse to the mix of PTSD and the results almost certainly WON'T be good.

The title refers to the valley where David, as a teen, fought and defeated the utterly intimidating Goliath from 1 Samuel 17.

ADDITIONAL ACTORS: James Franco, Wes Chatham, Jake McLaughlin, Mehcad Brooks and Roman Arabia play soldiers who knew Deerfield's son while Frances Fisher has a curious cameo (you'll know what I mean).

The film runs 121 minutes and was shot in Whiteville, Tennessee, and Albuquerque, New Mexico, with Morocco substituting for Iraq.

GRADE: B