OBLIVION (Dir. Joseph Kosinksi, 2013, US) – Hollywood’s first anti drone film? [Spoilers Ahead!]


Oblivion is a disappointing slice of mainstream science fiction cinema that meanders aimlessly for little over two hours. I haven’t much noteworthy to comment about this underwhelming studio project. Nonetheless, mainstream escapist genres such as science fiction have this innate propensity for allegorical pluralistic reinterpretation that can thankfully on some occasions salvage the cinematic dignity of those involved. Robin Wood was one of those critics that had this capacity to read between the lines of mainstream cinema and although I am weary of applying such a noble approach to a film like Oblivion since it is such a tiresome affair, I could not help but read into the film in terms of a latent socio-political subtext concerning drones, insurgents and Pakistan. What I am saying may at first seem a little far fetched but it was the ending to Oblivion, the one in which two suicide bombers defeat the master controller in the skies, that got me intellectualising the following hypothesis; what if Jack Harper (Tom Cruise) and the Scavs (code word for troublesome insurgents) are in fact an allegory for a real and potential insurgency that has appeared in Iraq and which may in fact emerge on the Afghan-Pak border which has claimed the lives of so many innocent civilians in drone attacks orchestrated by Obama and company. If I was to take this allegorical interpretation to its fruition then a source of validation may lie in the film’s anti-drone ideology. 

In the film, Harper is told by his superiors that the drones which he spends his days repairing are killing Scavs to protect humanity. In truth, the drones turn out to be machines controlled by an alien life form who have been programmed to kill humans. Drone attacks have become quite common in Pakistan and is an ongoing source of controversy that will inevitably be associated with Obama’s legacy. America’s war by proxy conducted criminally and immorally from the skies by unmanned drone technology is not only a cowardly form of murder but seeks to sanitise death as guilt free for the hegemonic perpetrators. Such a precedence exists in Oblivion with the drones targeting innocent civilians including women and children. However, the film offers a fantasy wish fulfilment in which a sympathetic rag tag band of human survivors come together as a mini insurgency, retaliating against the drones. Is the film covertly advocating the right to self defense as an accepted norm given the war like circumstances? If so, then it is an ideological proposition that would only come about through an oppositional reading of the film situated within a wider geopolitical context. The reading of an insurgent ideology is complicated by race as most of the insurgents are white aside from the tokenism of Morgan Freeman. Had the Scavs been more racially diverse and visibly so then an insurgent reading would have been much more explicit. It is the case that mainstream genres especially science fiction are open to endless allegorical interpretations and perhaps then Oblivion can lay claim to being Hollywood’s first anti drone film. Too bad the film is barely competent.

KILLING THEM SOFTLY (Dir. Andrew Dominik, 2012, US) – ‘America’s not a country, it’s a business…’

Brad Pitt as enforcer/hit-man ‘Jackie Cogan’

‘And to all those who have wondered if America’s beacon still burns as bright – tonight we proved once more that the true strength of our nation comes not from our the might of our arms or the scale of our wealth, but from the enduring power of our ideals: democracy, liberty, opportunity, and unyielding hope…’         

– President Obama’s acceptance speech, 2008

Killing Them Softly revels in the cynicism of its central character of Jackie Cogan (Brad Pitt), a hit man who stalks the noir lit streets of an urban American society suffering from a monstrous moral and economic decadence. It’s not a fantastical decadence but one rooted in a stark contemporary reality in which the terms recession and capitalism have led to a social crisis of confidence. The absence of morality is nothing new to the crime genre but here it seems to be absolute in the way Jackie views his role of the hit man nothing more than a professional service. With Jackie, all that exists is the job. He has no external life to speak of and trades in death. He also occupies a universe of unsavoury characters that collectively represent a dispiriting American underbelly often found in some of the more nightmarish visions of America from 1970s cinema. The fact that we find no difference between the amorality of Jackie from his victims is what makes the film’s representation of American society so powerfully dark. We have no one to root for in the film and in many ways we become observers rather than traditional participators. Such an observational and at times detached spectatorial position underlines the way director Andrew Dominik chooses to foreground ideological concepts over more visceral conventions associated with the genre. 

Most of the film hinges on extended conversation sequences while in the background we hear America’s transition from Republicanism to Liberalism (punctuated with speeches delivered by Bush and Obama) as a nothing more than historical spectacle, stressing the continuing empty promises made by politicians. In many ways, Jackie is a twisted metaphor for the contemporary entrepreneur and although he deals in death his violent preoccupations are a pale reflection of successive American leaders. However, what separates Jackie from someone like President Obama is the refusal to use hypocrisy as a form of persuasion. For Jackie, his profession as both an enforcer and hit man is devoid of such traditional forms of political hypocrisy; instead he deals in a reality based on choices and ultimatums, thus avoiding any potential personal guilt. In fact, Jackie is unique in the pantheon of cinematic enforcers/hit-men since existentialism is traded in for an ideological bent. Such ideological musings transforms Jackie into a vicious political metonym and repressed voice for disillusionment with the establishment that stretches back to the 1970s. 

Just as The Assassination of Jesse James By The Coward Robert Ford offers a revisionist dissemination of the western genre, Killing Them Softly also undermines audience expectations associated with the crime film genre. The plot is perfunctory and offers little variation in what we have seen before in the American crime film. Two desperate criminals hold up a card game run by the mob, resulting in the entrance of enforcer Jackie Cogan who takes on the job of resolving the crime. The film is adapted from a 1974 novel ‘Cogan’s Trade’ by George V. Higgins who also wrote The Friends of Eddie Coyle. Dominik updates the story to 2008 but such prescient political and economic parallels exist between the two eras that I doubt if the film really loses any of the 1970’s context. The Friends of Eddie Coyle, directed by Peter Yates, features one of Mitchum’s greatest performances as an ageing small time criminal who becomes an unlikely police informant. The patina of romanticism often found in some of the more celebrated American crime films is largely absent from the writing of Higgins. Dominik appears to remain faithful to Higgin’s unglamourous depiction of the criminal underworld by opting for a neo noir aesthetic echoing the dirty, bleached out look that defined films such as Taxi Driver, The Outfit and Thief. Absent also is the traditional face of the crime boss who oversees the hierarchical power structure. Such a choice means that the action stays firmly rooted in the urban milieu of peripheral low life characters typically marginalised in crime or gangster films. 

The film isn’t wholly devoid of action, with a stand out assassination sequence involving hypnotic slow motion, shattered glass, shell casings travelling through rain and the sounds of Kelly Lester’s ‘Love Letters’. Perhaps the defining moments of the entire film is the final scene between Jackie and the ‘middleman’ (Richard Jenkins). Staged in a bar and brilliantly juxtaposed to a television set broadcasting the acceptance speech of the newly elected President Obama, Jackie’s cynical diatribe on the state of America as defunct, individualistic and pathologically obsessed with money may seem somewhat polemical and unexpected for a crime film but its power comes from watching A list film star Brad Pitt deliver such words, and all with an eloquence and clarity. With Assassination of Jesse James and last year’s Tree of Life, Brad Pitt certainly doesn’t need to convince the sceptics of his growing capacity as a fantastic actor and Killing Them Softly offers yet another brilliantly charismatic performance, if not, his best to date. As Jackie Cogan, Pitt is scary, charming and deeply pessimistic, modelling his washed out grungy appearance on a decrepit Elvis. 

This is an angry and prescient piece of cinema that could in time be considered a masterful addition to the American crime oeuvre. One of the films of the year for sure.