IN THE VALLEY OF ELAH
US, 2007,
Directed by Paul Haggis.
SIGNIS Prize, Venice, 2007.
SHORT REVIEW
A murder mystery skillfully led by Hank Deerfield, Tommy Lee Jones, former Vietnam veteran and MP, who embarks on a journey to find his son Mike, recently returned from Iraq tour of duty and now AWOL.
With Emily Sanders, Charlize Theron, a local police detective, Hank overcomes righteous patriotism to discover the PTSD truth of his son’s charred remains. Post Traumatic Stress Disorder, what happens to a soldier’s mind after experiencing the trauma of war, proves as disturbing as the war. This monstrous Goliath defines America’s Valley of Elah, a hell to face in the aftermath of Iraq.
LONG REVIEW
Inspired by actual events, this murder mystery skillfully unfolds through Tommy Lee Jones, cast as Hank Deerfield, former Vietnam veteran and MP, a father in search of his son Mike, recently returned from Iraq tour of duty and now AWOL.
Tommy Lee Jones’ hardened facial expressions disguise his character’s past pain of having lost one son, and grief of another son’s death to be shared with his wife Joan, portrayed by Susan Sarandon. Hank, a righteous man, unshaken in faith and patriotic values, doesn’t oppose the war but wants to find the truth to his charred son’s remains.
Accompanied by local police detective Emily Sanders, played by Charlize Theron, Hank embarks on a search that unveils horrors of the Iraq war zone. His son’s camera video provides a clue. Through glimpses of this video director Paul Haggis artfully personalizes the larger picture of Iraq hell – roadside bombs, orders to treat all civilians and children as threats. This prompts the audience to reflect on how the war in Iraq has molded soldiers fighting it. An interview with Mike’s murderers, fellow soldiers, demonstrates the shocking disconnect from killing and loss of human element. This disconnect, PTSD or Post Traumatic Stress Disorder, happens to a soldier after experiencing the trauma of a war zone.
Based on the biblical story of David slaying Goliath in the Valley of Elah, this story symbolically reminds the audience of a separation with thousands of soldiers shipped abroad to endure abominable conditions for extended time while defending comfortable lives at home. It’s an atmosphere at home where no one notices the horrific reality as there is no evidence such as cargoes of body bags shipped back like Vietnam. Americans support their troops abroad, but how does America face the monstrous Goliath of PTSD when their soldiers return home?
An opening scene defines that a nation signals “international distress” by flying their flag upside down. Hank Deerfield begins his journey by uprighting the hanging of an inverted American flag and ends his journey with purposely inverting the hanging of an American flag. The upside down “Stars and Stripes” flaps in a gusty breeze and the screen somberly fades to black.
CRITERIA FOR REVIEWING
In 2009, President Obama announced his plans for American troops to leave Iraq in 2010. It was a short interlude before the President announced his plans for America to occupy Afghanistan. It’s a great shame to realize that in my lifetime America may always be at war. In 2007 I had the opportunity to serve as a SIGNIS Juror at the Venice International Film Festival where In The Valley of Elah competed. The Press Conference, following this film’s opening and featuring Paul Haggis and Cast, left a lasting impression. As an American it was daunting to witness the heat of Foreign Press questioning our nation’s motives for occupation in Iraq. What is America thinking? Does America realize what’s happening? What is America planning to do? Overseas, America is truly a country signaling “international distress.” Privately, this prompts me to reflect on my disengagement with the war and seriously question what our presence in Iraq is doing to us.
When reviewing a film, and particularly as I proceeded with In The Valley of Elah, I make every attempt to connect with the human element both emotionally and spiritually through memorable scenes, script, or characters that spark a similar personal experience. An opportunity to attend a Press Conference where the director and cast are purposely interviewed definitely personalizes a film’s effort, as likewise the opening film caption, “Inspired By Actual Events.”
On a deeper level I look to my own life. Having no family member nor relative who has served or suffered casualty in the Iraq war, I consider the film script.
One scene from In The Valley of Elah remains outstanding in my mind.
“If this is the way he left the earth, I don’t see I have any choice.”
Hank Deerfield insists on viewing the horrific, charred remains of his son. As a teenager I suffered the loss of my older brother to a car accident in which his body was badly mutilated. Just as Hank Deerfield, my father was advised it was not necessary to view his son’s body. Like Hank Deerfield, my father insisted upon seeing his son’s body regardless of the gory details. I’ve often thought of this as the final act of courage, mercy, and respect my father gave to his son. Although we never spoke of it, I’ve often wondered of the haunting imprint this painted in my father’s memory. I experienced the depth of pain in my father’s eyes that Tommy Lee Jones portrayed through the eyes of Hank Deerfield.
Exploring the spiritual element further, I must ask myself what strength or moral lesson do I garner as the audience? The obvious symbolic message In The Valley of Elah is to face our fears with the confidence of God’s grace as David slew Goliath. Delving more deeply, one might strongly consider the aftermath of Iraq, significantly God’s grace and PTSD. How does our Father in Heaven look upon us in the mutilation and disembodiment of our human element? Perhaps this will be God’s final act of mercy and respect for his creation.
BIOGRAPHY
B.S... West Virginia University (Magna Cum Laude), M.S.. Health Science/San Francisco State University, A.A.. Broadcast Communications/College of Marin
Professional Program in Drama... American Conservatory Theater, Professional Program in Screenwriting... UCLA, Advanced Professional Program in Screenwriting… UCLA, Summer Workshop in Film Production... UCLA, Internship Daybreak Productions/ Universal Studios
Screenplays/Teleplays::
“Quadrant VI”... Action Dramedy Feature
“Liquid Assets”... Romantic Comedy Feature
“The First First Man”... Political Romantic Dramedy Feature
“Sassy Santa”... Christmas Fantasy Comedy Feature
“King Coal”... 1940 Periodic Drama Feature
“The Practice”... Teleplay
“West Wing”... Teleplay
“Boston Public”...Teleplay
“Grey’s Anatomy”...Teleplay
