Movie Loner

I’m not sure why I find boot-camp movies so intriguing. Maybe it’s watching human beings endure trials I know I couldn’t handle. Allowing myself to be mentally and physically educated into thinking and behaving under a strict code of conduct quite frankly scares the shit out of me. I’ve always wondered how I would act given those circumstances. Would I give-in to their will, or resist? I do know that it takes a unique individual to become a soldier, especially during war times. Full Metal Jacket, An Officer and a Gentleman, and Jarhead are three different types of films that deconstruct the boot-camp experience. This list should also include Tigerland, an edgy low-budget drama set in 1971 Louisiana at the height of the Vietnam War.

Colin Farell plays Roland Bozz, a smart-ass Army recruit who prefers time spent in the stockade rather than the barracks. He is a conscientious objector who believes the military is no place for any man, let alone himself. Educated, charismatic and disobedient, Bozz relishes his role as outcast. His only real friend is Pvt. Jim Paxton, a wannabe author who gave up college to volunteer for military service. Paxton can see through Bozz’s careless exterior to the scared little boy who dwells inside.

But Bozz is much more willing to help others than himself and it’s this quality that draws the ire of his superior officers.  He moves to the beat of his own drum, much to the chagrin of some of his platoon mates, in particular the mentally unstable Pvt. Wilson who makes it his mission to put Bozz in his place. Matters escalate once the recruits enter Tigerland, the mock Vietnam training ground designed to push soldiers to the brink. To survive Tigerland, Bozz, Wilson and Paxton must defeat not only the elements, but also each other.

Director Joel Schumacher chose a bare bones style for Tigerland and it fits to a tee. Shot on Super 16mm with hand-held cameras, the film adopts a docudrama feel, encapsulating the gritty nature of the intense, often brutal story. To be a soldier means to be a killer. It’s this moral dilemma that challenges every young recruit. Bozz refuses to accept his lot; for him being human means being free, and giving in to an institution designed to strip away humanity would not be true to his nature. He refuses to believe in what the Army represents, so he martyrs himself to save others. His behavior at first glance could be confused for selfishness, but in reality it’s purely selfless. Bozz, like any good hero, protects the weak and those incapable of fighting the system. His relentless defiance to authority is both admirable and reckless. But that’s Bozz: a walking dichotomy who, like war, is confusing and unpredictable.

This film put Colin Farell on the map. His innate rough-n-tumble charm was perfect for the character of Bozz. It’s easy to see why the young actor garnered so much positive reaction for his performance. True “bad boys” are hard to find in Hollywood these days, so Farell fills a void. His style is very naturalistic and fearless. Bozz is not supposed to be a typical tough-guy with all the answers, in fact he’s just the opposite; he’s human and therefore feels human emotions. Credit screenwriters Ross Klaven and Michael McGruther for crafting a multi-layered, conflicted character. Tigerland is proof that strong acting and a well-conceived story can shine a big spotlight on a small movie.

The trailer for Tigerland:

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Roy Scheider was one of those actors who, in my opinion, never received his just praise. He did nab two Oscar nominations (All that Jazz, The French Connection) but starred in countless noteworthy films including Klute, Jaws, Marathon Man, Sorcerer, and Naked Lunch. Best known for his portrayal of Chief Martin Brody in Jaws, Scheider played several memorable characters in many underrated movies. One such movie is 52 Pick-Up, a taut extortion thriller featuring a variant collection of oddballs and sleazebags.

Harry Mitchell (Scheider) leads a successful life in Los Angeles. He owns his own company, drives deluxe sports cars, and has a beautiful wife named Barbara (Ann-Margret). On the surface, everything seems splendid. However, Harry’s clandestine activities, which involve an extramarital affair, land him in deep water with three creepy blackmailers. He is ordered to pay 100K or an incriminating tape will be released. Harry doesn’t take the thugs seriously until they resort to threats and murder. But rather than cooperate, Harry flips the script: Using $52,000 as bait he pits the terrible trio against one another. What ensues is a battle of wits between Harry and the lead blackmailer, a crazed menace named Alan, who will stop at nothing to collect the cash.

A world without morals. That’s what Director John Frankenheimer and writer Elmore Leonard have crafted in 52 Pick-Up. The only redeemable character is Barbara, but her motives are questionable when you consider her profession is in politics. Harry, in the role of hero, seems right at home mingling with low-rent criminals and their lawless nature. Are we meant to root for Harry, despite his lies and infidelity? Should we be sympathetic because he carries a heavy tax burden? He is the lesser of two evils, but arrogance and selfishness are to blame for his predicament. Alan and his pals live an unscrupulous existence; their behavior, while inexcusable, is befitting their place in society. Harry, on the other hand, is supposed to be an upstanding citizen and yet finds himself, through all fault of his own, embroiled with seedy criminals. The story unfolds as a cautionary tale: Playing in the devil’s playground even once will ultimately get you burned.

Frankenheimer, known for action films, eschews elaborate car chases or prolonged shootouts and relies on character to steer the plot. We meet several disparate people, from a seductive stripper to a whacked-out killer, all of whom display the gamut of emotions that define the human condition: rage, fear, guilt and desperation. Scheider plays Harry as a clever, assured man who knows he holds an intellectual advantage over his enemy. Harry treads unfamiliar territory but does so confidently. John Glover steals the movie portraying Alan Raimy, an opportunistic hood with a Baltimore accent. Glover pulls off a difficult double-play; he’s funny and scary. Based on crime master Elmore Leonard’s best-selling novel, 52 Pick-Up deals with deranged people navigating a sea of corruption. It’s far from groundbreaking, but does a fine job of keeping your attention.              

The trailer for 52 Pick-Up:

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