THE 15:17 TO PARIS
US, 2018, 94 minutes, Colour.
Alec Skarlatos, Anthony Sadler, Spencer Stone, Judy Greer, Jenna Fischer, Irene White, William Jennings, Bryce Gheisar Paul- Mikel Williams, Thomas Lennon, Tony Hale.
Directed by Clint Eastwood.
Depending on memory, audiences may or may not be aware of an episode on a train from Amsterdam to Paris in 2015 where a terrorist threatened passengers with guns and three Americans, some of them military, thwarted the attack by the terrorist. The three of them then wrote a book recounting the episode.
This is a Clint Eastwood film— post-production completed when he was 87! His name is on the advertising but his name does not appear as part of the film’s title. His name is a marketing device. And, in many ways, this film has a lot of Clint Eastwood’s themes, American heroism, American military, striking action, and background stories of the central characters.
The production question arose as to casting of these central characters. It was decided that the men should play themselves. They were not actors. They had no drama lessons. Rather, were invited to re-enact the events that they had lived and to bring conviction to those performances. And, generally, they do.
Eastwood does what he did in his most recent film, Sully. There are some sequences scattered throughout the film of the ultimate confrontation with the terrorist. However, there is a lot of back story and the incident is not shown fully until the latter part of the film once we have got to know the three protagonists.
One of the great advantages of the film is the casting of the three young lads to portray the heroes when they were at school and at home. The greater credibility to the real adult characters/performers.
Spencer Stone gets the most attention in the film. William Jennings portrays him as a boy, not a little boy, but a rather big boy for his age, not the quickest runner on the block, criticised for ADD, cared for by his single mother, played by Judy Greer, a boy who did not know what he would be when he grew up but was interested in the military. The boy who portrays Anthony Sadler, Paul- Mikel Williams, is a vivacious and appealing character as a little boy, always getting into trouble, not always deserving it, perhaps too much picked on because of his African- American background. Bryce Gheisar is very good as Alec Kartelos, it is best friend, medium-size, potential for grown-up work, joining the military. His mother played by Jenna Fischer.
The mothers have their difficulties, especially when called in by the principal of the Christian school where they send their sons, played seriously by comedian Thomas Lennon. Their sports master is impatient often reporting them, the discipline master is forever urging them to get to classes. (The presentation of the Christian school is not a particularly flattering portrait but Spencer Stone does pray St Francis Peace Prayer – which he does at the end of the film.)
When they grow up, in their mid-20s, Spencer has tried and failed in several of the courses he is interested in and lacks vision depth, disqualifying him, and Alec has spent time in Afghanistan. They join up with Anthony for a European tour. Some audiences have found this unnecessary and a touch boring – you for the violent bits! But those who have visited Rome, Venice, Amsterdam, Berlin, will enjoy some reminiscences. And so, finally, they decide to go to Paris and are on the 15.17 from Amsterdam.
The film does raise the question of how would we all react if suddenly on a train were confronted by a terrorist with guns and 300 rounds of ammunition. The three men tackle their attacker, subdue him, with the help of an older Frenchman. There are some frightening moments, edited with some pace, with the potential to alarm the audience wondering what would happen if they we were there.
There is a final ceremony with the French president presenting the men with the Legion of Honour and strong praise for stances against terrorism.
The film is patriotic – after all, they are American heroes! But audiences who abhor American trumpet-blowing have found this irritating, with comments that Clint Is too patriotic. But, one could ask, why not?
1. Actual events? 2015? The actual characters performing their roles?
2. The work of Clint Eastwood, his age, interests, action, terrorism, American spirit?
3. The reality of terrorism, in the world, a taxing France, all over Europe? Islamic jihadists? American attitudes, the war on terror?
4. Critics and the criticism of the film for Clint Eastwood’s jingoistic attitudes? Tough America? Yet the four men being honoured by the French government, the Legion d’honneur?
5. The fact of the actual characters in their performances, and bitter, little coaching, but the effect and authenticity?
6. Introduction, 2015, the train, the camera following a bit of a terrorist, in the toilet, his attack? Recurring throughout the film? The climax action?
7. Childhood of the performance, the persuasiveness of the three child actors? Differences, friendship, being in trouble, a DD, school difficulties, with the principal, her severity? Interviewing the mothers, single mothers, upset about their children being attacked?
8. The transition to the Christian school, the hard aspects, and the Principal, the teacher on the stairs reporting them, the cynicism of the sports master? White and black? Bonds? Each at home? The hopes?
9. The focus on Spencer, the big boy, St Francis? A DD, concentration, friendships? With his mother? Hopes? Wanting to help, military volunteer? The training, the weight loss, is lacking depth of mission and so unsuitable? His disappointment?
10. Alec, a better life, military, service in that gap Afghanistan? The effect of the experience?
11. Anthony, Africa- American, strong personality, military?
12. The idea of a holiday in Europe, the tourism and sequences of Rome, Venice, Berlin? The sites, the enjoyment, meeting people, advice to go to Amsterdam?
13. Amsterdam, the 15:17, on the train, the range of passengers? An ordinary trip on an afternoon?
14. The terrace, the attack, his guns, of a number of rounds, the three men tackling him, the help from Frenchman? Spencer being wounded? The women helping with the wounded? Extension the blood? The men taking control?
15. The question of how audiences would react in similar circumstances? Visual pulling the court not? Sending message onto the next station? Stopping, the authorities, the police? Medico medical help? The terraces prison? The work of the railway staff?
16. The French president, the gathering, his speech, the mothers present, the giving of the metals?
17. Return home, the tickertape parade? American heroes?
18. American heroes, but ordinary men, and supernatural bottles?
