It often feels like every decade has its own subject that
is annually nominated in the Best Documentary Feature category at the Oscars.
This decade’s focus is the wars in Iraq and Afghanistan. Looking through the
records, I’m surprised to discover that only three have been nominated (with
one winning). Although this year the Iraq War as subject made its way into the
Documentary Short category so I guess that makes up some ground.
One of this year’s nominees in the feature category is Hell and Back Again about a veteran of
the Afghanistan War who suffered a bullet wound that shattered hip and his
femur. Now he gets around with a walker or wheelchair, goes to physical therapy
and probably suffers from some form of PTSD although the film is never really
explicit about any of it.
The approach taken by director Danfung Dennis is to
simply follow Sergeant Nathan Harris with a camera after his return home. He
lives each day in pain and grows steadily addicted to his pain medication, but
all the while he allows Dennis’s camera into his life and home, sometimes
capturing most intimate moments between Harris and his wife Ashley.
Dennis started as a photojournalist embedded with U.S.
Marines Echo Company, 2nd Battalion, 8th Marine Regiment.
Many of the film’s scenes take place in Afghanistan and many of those are shot
amid the heat of battle as bullets fly and soldiers literally fight for their
lives. I don’t know if Dennis was operating on his own or if he had at least
one other camera man with him, but the effect of Fiona Otway’s editing (what
must have been a monumental task of cutting together thousands of hours of
footage) is that the battle scenes feel almost staged like a Hollywood movie.
The camera often seems to be everywhere it needs to be, which is obviously
impossible for a single cameraman in the middle of a firefight.
But the whole movie is structured like a dramatic film
with the Afghanistan scenes being cut into longer scenes of Harris’s life at
home in North Carolina. The sound editing is even designed to resemble a
fiction film. We see Harris, for example, in the car leaning his head into his
hands. The dialogue track slowly drops out as sounds of war fade in and then we
cut to the Middle East. The effect is just like a dramatic film where we
believe Harris is recalling his memories of war during these contemplative
moments while appearing to be in pain.
There are no interviews and to my recollection, Harris
doesn’t ever talk directly to camera or to Dennis. The entire story is told
through conversations with the people around him including Ashley, his doctor,
and in one scene his fellow Marines. “War is hell,” I suppose is the general
message Dennis wants to get across. He obviously recognizes that such a clichéd
aphorism is known to just about everyone so he tries to move it away from
abstraction by tying it to a personal story. I just don’t know how much we
learn about Nathan Harris. We don’t have any idea what he was like before going
to war and what we see of him acting out his duties as a Marine looks pretty
much like I’d expect from any soldier.
The only hint we get of his past is when he says that he
joined the Marines because he wanted to kill people. I’m not sure what Dennis
wanted to convey by including that bit. What it tells me is that Harris’s
violent tendencies after returning as well as his creepy interest in keeping a
loaded firearm beneath his mattress positioned in such a way that he can draw
it quickly and easily in the night if necessary have nothing at all to do with
his experiences in war or getting shot. Those behaviors seem to me entirely
congruous with what I might expect from a person whose principal reason for
signing up is to kill other human beings. I don’t doubt that Nathan Harris
suffers terribly both physically and mentally from both his wounds and his
experience. I just doubt that this documentary is an effective way to express
that suffering.
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