STOP-LOSS

US, 2008, 114 minutes, Colour.
Ryan Philippe, Abby Cornish, Channing Tatum, Joseph Gordon- Levitt, Ciaran Hinds, Timothy Oliphant, Victor Rasuk, Rob Brown, Josef Sommer, Linda Edmond.
Directed by Kimberly Peirce.

‘Stop-Loss’ is one of those unusual terms associated with American war activity that does not immediately mean anything to the casual (or the serious) observer. Like ‘rendition’, it has to be explained. It actually refers to the decision concerning someone who has completed active service (today in Iraq or Afghanistan) and is to be discharged but is commanded to return to action for another tour by the military powers that be.

Once again, as with the 2007 films about the war in Iraq or Afghanistan, In the Valley of Elah, Rendition, Redacted, Lions for Lambs, this film seems to have been avoided by the American public. A pity, because these films are contributing to a consciousness about the wars as they are being fought now, not reminiscences about the past.

The film opens with a group of enlisted men who have bonded during their time in Iraq doing their roadblock duty when they are asked to follow a speeding car – which eventually leads them into an alley and an ambush. As with so many stories out of Iraq, the closeness of the action, the uncertainties, the sudden producing of guns leads to deaths of soldiers and to the deaths of innocent civilians and family members in houses. This first part of the film is quite a vivid re-creation of action and conditions.

In many ways, the film is reminiscent in its plot and situations like Oliver Stone’s Vietnam film, Born on the 4th July (1989). A young man is committed to his country, well motivated by patriotism, experiences harsher action than he imagined and returns home, more questioning than when he went away. The central character here, Sergeant Brandon King, a good leader but one who blames himself for what went wrong (Ryan Philippe), is not physically wounded though his friends are quite psychologically wounded (one eventually killing himself, another drinking and brutal towards his fiancée, another maimed and blinded). Their small Texas town welcomes the heroes back but does not quite know how to deal with them.

As King goes to do the paperwork for his discharge, he finds that he is ‘stop-lossed’. He can either go back to active service as ordered or he can leave the US for Canada or Mexico. With the help of his friend’s fiancée (Abby Cornish), he begins the process of leaving the country. However, he visits the wounded man in hospital as well as the parents of a dead comrade, his friend finds him to bring him back and he has to face what he really wants with his life: risking dangers again in Iraq or a permanent exile.

Some commentators saw the film as a piece of US patriotism. While the film respects patriotism, the key issue in obeying or disobeying the stop-loss command is far less patriotism than personal issues like family, friendship and a future at home.

The film is the director’s first film since Boy’s Don’t Cry (1999).

1.The perspective of 2007-2008 on the Iraq war? Afghanistan? Public opinion? The range of films made on the subject – and the lack of response of the American public?

2.The title, the technical phrase, an alternate to the draft, eighty thousand troops employed because of stop-loss, the effect on civil liberties, on quotas and statistics as regards the military? Justice for the men?

3.The focus on Iraq, American action, the checkpoints, the pursuits of cars and terrorists, in the towns, the alleyways, the houses? Shooting, weapons, death? The insertion of flashbacks of action in the war? Conditions in Iraq for the Americans?

4.The Texas settings, the return of the soldiers, the parade, the town, families and homes, the open roads and the woods? The musical score?

5.The American road, the dark experiences along the road, motels, seedy atmosphere, violence, family homes, hospital wards?

6.The mood and situation of the war? The checkpoints and the bored Americans, the pursuit of the car, lured into the alleyway, the attack, the house, the inhabitants, King and his decisions, Steve Shriver and his rash behaviour? Burgess and his involvement? Ricco and his being wounded? The various deaths? King and his sense of responsibility, going into the house, the shootings? His having to inform the family about deaths? Personal friendships?

7.The men in themselves, the American background, the attitude towards the Iraqis, despising them, expressing their contempt, the names, below dignity? An indictment of American attitudes and training of troops?

8.The return, the hopes, the welcome of the town, the senator, the meetings, families and joy? Michelle? The parade, going home? The get-togethers, the aftermath of the war, their reminiscences? Their militaristic and macho behaviour? The difficulties in adapting?

9.Adaptation, Shriver and his relationship with Michelle, his expressions of brutality, the trauma? Tommy, with the group, on the outer, his dependence, moods, the guns? Ironic humour?

10.King, the discussions with the senator, his relationship with his parents, being at home, going for the discharge, the military personnel, the documents, the argumentations about stop-loss, Michelle and her listening? Her coming to him because of Shriver’s behaviour? Shriver and his opinions about stop-loss and re-enlisting?

11.The options, going back to war, going to Mexico, going to Canada?

12.The contact, the meeting, giving information about help to get underground to Canada? King’s decisions, his discussions with Michelle, her offering her help, driving him, staying at the motel, the bond between them? Visiting the family of the young man who had died? King and the possibility of some kind of confession and atonement?

13.The visit to Ricco, the ugliness of his wounds, his being blind, glad to be alive, glad of their visit, his talk, upbeat spirit, the effect of the injuries on him, his future? His family?

14.Shriver, his anger, his arriving, his attack on Michelle, the fight with King, his arresting him? Their going back home?

15.The officer, his attitudes, documentation, praise, threats to King?

16.Michelle, as a character, her relationship with Shriver, friendship with King, her help? King and his parents, their advice? Their willingness to let him go?

17.Going to Mexico, the effect, thinking over losing his family, his reluctance in going back, his sense of duty, his sense of family being stronger?

18.The final images of his being shipped out, going back to war, the victim of stop-loss?