STATE OF PLAY
(US, 2009, d. Kevin Macdonald)
There are any number of fine reasons for seeing State of Play. It is intelligently scripted and directed drama-thriller that is contemporary and relevant.
Adapted from a television series from the UK that was hailed as strong television, the screenplay has been adapted for a United States Congress plot (and other complications). It takes full advantage of DC locations.
The issues are particularly interesting: a congressional hearing on the plans and budgets for a private company to get contracts for all kinds of war needs, from arms to medical care, for Iraq and Afghanistan. The company is made up of former military men who are now virtually mercenaries. Huge money is involved.
A congressman, Stephen Collins (Ben Affleck in a role that suits his rather strong-jaw determined style of acting) is investigating the companies and their links to other contractors as well as their aims to privatise the conduct of war. His researcher is murdered as the film opens. Police investigate as does the Congressman's old room-mate and friend, reporter Cal Mc Caffrey (Russell Crowe almost imperceptibly immersing himself in his role). His publisher is an acid-tongued Helen Mirren. His associate reporter who comes from the paper's blog rather than the print media, but proves her skills, provides a substantial role for Rachel Mc Adams. There are fine supporting performances from Jeff Daniels, also a Congressman, and a particularly effective performance from an actor who has been lately showing versatile skills in Juno and Hancock, Jason Bateman. Robin Wright Penn is Affleck's wronged wife.
The action takes place over only two days which means that it keeps up the pace as step by step more details are revealed: other killings, a military assassin, a hospital shooting, press conferences by the senator, an interrogation of a sleazy PR agent (Bateman), information from an insider to the military company. And there are several plot twists that are not anticipated, at least by this reviewer.
This all means that we are intrigued by the plot and the craft (from former documentary director (One Day in September, Touching the Void) who made a welcome transition to feature films with The Last King of Scotland, Kevin Macdonald. We admire the acting. We are challenged to reflect on the consequences of the war on terror, the invasion of Iraq, the continuing action in Afghanistan – and, particularly, who profits the most from all the contracts? It would be interesting to read former Vice President Cheney's review of the film.
