Formal Film Study: Kathryn Bigelow

For this semester’s formal film study, I chose to analyze films directed by Kathryn Bigelow. Bigelow has always been a director that has fascinated me. Her bold choices in the types of movies that she has been known to direct, as well as her historical successes in the movie industry, place her in a field all her own. I admire the fact that Bigelow has not only made a reputable name for herself by being the first woman to win both an Academy Award for best picture and best director as well as a Director’s Guild for best director, but that she has done so through movie genres that are typically considered “male territory.” Almost all of this artist-turned-director’s films are rooted in themes of violence and intensity. Yet, I also found it interesting to discover that Bigelow’s career extends beyond just directing to producing and screenwriting too. This being said, the films that I chose to focus on for this project were Zero Dark Thirty, The Hurt Locker, and Point Break.

Kathryn Bigelow Bio

I chose these films in particular because each film was made in a very different time period of Bigelow’s career. Zero Dark Thirty is no doubt Bigelow’s newest film made in 2012, followed by The Hurt Locker in 2008, and Point Break coming in much earlier in 1991. Nevertheless, despite the time differences, there were many similarities throughout. Yet, to me the most powerful and intriguing discovery of all was Bigelow’s brilliant use of character development in order to convey the passage of time in her films. In other words, through the connection that Bigelow was able to create between the protagonist and the audience, it became much more evident and real the immense struggle and time that each puts into their given situation.

For instance, Bigelow’s Point Break is a film about FBI agent Johnny Utah (played by Keanu Reeves) and his search for the seemingly ghostlike crew, known as the ex-presidents, that have been successfully robbing banks left and right. In his quest to nab the robbers and follow a recent lead, Utah goes undercover as a surfer. Yet in the process, Utah finds that he is frighteningly attracted to the life of these adrenaline junkies and forms a sort of estranged friendship with the group’s leader, Bodhi (played by Patrick Swayze). Through the trials that Johnny Utah faces and his many failed attempts to finally learn to surf and become accepted by the pack-like community, it is obvious that this case is more than just a typical assignment for the rookie. He has invested a tremendous amount of time and energy into it, and has to overcome many personal struggles in order to do so. Because of the deep connection that we feel with Johnny, this seemingly endless chase is truly portrayed as a monumental battle.

Similarly, in The Hurt Locker, Bigelow follows the daily lives of an EOD team in Iraq. From start to finish, the film is utterly captivating. The bond between the audience and main characters is developed quickly as the team is forced to adjust to a new leader after their first sergeant, Thompson, is killed in action. The new staff sergeant, William James (played by Jeremy Renner), is a talented yet somewhat reckless soldier that is not afraid to play by his own rules. His lack of communication and willingness to follow protocol leads to early conflict among the rest of the team consisting of sergeant JT Sanborn (Anthony Mackie) and specialist Owen Eldridge (Brian Geraghty). However, in the midst of the trying and deadly circumstances of war, and the pressure of their role as a bomb disposal team, the group eventually finds common ground. Needless to say, through cataloguing the team’s daily physical and emotional challenges, Bigelow is able to perfectly capture the hell in which they are living. Each day is seemingly endless and equally terrifying. By then end of their 38-day mission in Iraq, one cannot help but feel as though those 38 days were nothing short of a lifetime. SPOILER ALERT!!! Thus, at the end of the film when we see that James, who is unable to cope with the transition back to normal life, is headed back for another 365-day tour, the result is pure horror and shock. You are left absolutely dumbfounded because you have seen first-hand the effect that only 38 days had on him previously. In this sense, the true weight and duration of war is given an entirely new meaning that would have been impossible to convey without such strong character development.

Finally, Zero Dark Thirty chronicles the decade long search and eventual death of the al-Qaeda leader responsible for the 9/11 terrorist attacks, Osama Bin Laden. Primarily, the film dives into the work of a feisty and driven CIA officer Maya (played by Jessica Chastain) who has been recruited to work on this case ever since her graduation of high school. Maya’s fiery personality and unwavering certainty in her lead, involving a suspicious and little known courier known as Abu Ahmed, despite numerous defeats and setbacks succeeds in drawing the audience in and transforming a historical milestone into a personal struggle. Thus, through seeing the effects that this manhunt has on Maya and the many friendships and confidences it takes away from her, you are better able to truly understand all of the sacrifice and time that has gone into this mission. Zero Dark Thirty is definitely a powerfully relevant film. This being said, it is my personal opinion, that this was Bigelow’s weakest film in terms of character development. While the connection is eventually made between the audience and Maya, I believe that it happens too late. Unfortunately, I think that in this case, Bigelow made the slight mistake of assuming that the content would speak for itself too much. I wish that she had gone a bit farther in developing multiple characters so that the true duration of this hunt could be fully appreciated.

In addition, to this discovery, there are also many smaller similarities that all three movies shared. For instance, there is the interesting and undeniable connection between William James in The Hurt Locker and Bodhi in Point Break. Both are considered huge daredevils and adrenaline junkies that thrive upon the dangers of life even at the cost of those close to them. Next, there are many cases in which it can be assumed that Bigelow is making a political statement through her films. A perfect example is seen in Zero Dark Thirty. In this film, there are many intense scenes in which we are given insight into the extreme torture methods that the CIA used against captured detainees in order to obtain information regarding Osama Bin Laden and al-Qaeda operatives. However, as the film progresses, there is a large focus on the fact that these operatives are not allowed to use such methods anymore. This is seen as controversial and even perhaps a statement against anti-torture since much of the information they received was pivotal in the search for Bin Laden.

Also, another connection that I noted was Bigelow’s use of the absence of sound in particular scenes to create suspense. For example, in the raid of Bin Laden’s compound at the end of Zero Dark Thirty, there is hardly any sound besides that of the shuffling feat of SEAL team 6. Then, all of the sudden, the silence would be interrupted by huge bursts of gunfire. This huge contrast helped to create and maintain the suspense throughout the raid. Also, in The Hurt Locker, there were many times in which silence was used as well. For instance, in James’s first case with his new team, he finds himself working on a bomb that ends up being much larger than they originally suspected. During these moments of painstaking care, all that can be heard is James’s labored breathing as he focuses on the work at hand while struggling under the weight and heat of the protective suit that he must wear.

In terms of the camera, I also noticed that many times throughout the films, the scenes were shot in a more documentary/hand-held style that allowed for increased and unsteady movement. This was important because it helped the action scenes to appear much more fast-paced and pivotal. For instance, this technique is used multiple times in Point Break when Johnny Utah is chasing the ex-presidents. One such scene that comes to mind occurs just after the crew hits another bank and attempts to get away when Johnny and his partner Angelo take chase. Here, it is obvious that Johnny has blown his cover and must try to capture the robbers at all cost. The chase leads them through many winding and narrow alleyways and even stranger’s houses. All the while, the camera is very unsteady so as to provide a visual as if you were the one running. Also, the shots change very quickly and show just enough background so that it is clear who is in the lead without giving away what obstacle might be lurking just around the corner. Yet, as the scene ends in the final moments of the chase, the use of an extreme close up on the eyes of ex-president Reagan (Bodhi), slows down the pace and highlights the strange connection between the two men.

In all, Bigelow’s films are a wonderful combination of riveting action sequences with powerful worldly meaning. I have thoroughly enjoyed having the opportunity to finally explore her wonderful work. Her previous successes in the film industry are no doubt well deserved and I can only presume that they are only the first of many more yet to come.