The film is a sophisticated but unpretentious examination of drone warfare in our 21st century civilization – our big blue marble, which is getting frighteningly smaller by the minute, so technologically advanced yet still so stone age barbaric.
The film, directed with economy and precision by Gavin Hood (Hood, I now can forgive you for X-Men Origins: Wolverine), is a narrative throwback to political potboilers like Three Days of the Condor, Black Sunday, or even 12 Angry Men and Judgment and Nuremberg with a healthy dose of vintage Playhouse 90 and BBC teleplays in its DNA. That’s a compliment, by the way.
Taking place in a single day, across three continents (Africa, North America, and Europe) the film’s action is constrained essentially to a board room, two “mission control”-type chambers, and one dusty town in Nairobi. It’s a rare film these days that relies on its actors to bring the slow-burn pyrotechnics, nary a green screen or lightsaber or cape in sight.
Not unlike recent true-life thriller Captain Phillips (which also featured Barkhad Abdi, in an Oscar-nominated performance), Eye in the Sky weaves cinematic tension around the tricky juxtaposition of the comfortably mundane and the horrifyingly extraordinary. Like Tom Hanks’ Phillips, the characters in Eye in the Sky have jobs to do, mortgages to pay, birthday gifts to pick up, dogs to feed, snoring spouses to ignore, food poisoning to overcome, bread to sell … all while making small and large philosophical gestures toward righting the perceived wrongs in a vast geopolitical landscape.
A ball of ethereal, blue-eyed twitch, Breaking Bad‘s Aaron Paul, who plays the Las Vegas-based drone pilot assigned to Eye in the Sky‘s particular mission, is asked by a colleague why he signed on to a military career. In a lesser film, he might have replied (with flag waving in the foreground and a vaguely patriotic theme swelling in the soundtrack), “For love of country … and freedom … and our way of life.” In Eye in the Sky, his answer? “I had a mountain of student loan debt, and this job guarantees me four years of income.” Yup.
It’s a little throwaway moment, but, coupled with similar moments (Rickman wrestling with the choice of inanely named dolls in a toy shop; Mirren padding out of bed at 4 am to feed her dog and check her email; Abdi bringing some dubious looking lunch containers to his surveillance monitoring colleague), the film offers incisive, sobering, ever-so-lightly-satiric commentary on human survival.
In the context of the film, Mirren is an intelligence operative, Rickman is British military, Paul is American military, and Abdi Kenyan intelligence/military. They are collaborating to bring down a terrorist cell on the move in Nairobi. The film opens with a pastoral depiction of a Kenyan family – father, mother, daughter – eking out a living, repairing bicycles and baking bread. The young daughter – newcomer Aisha Takow in a hauntingly subtle, heart-tuggingly luminous performance – is dutiful and bright, enjoying her hula hoop and books behind the walls of the family home, but hiding her light out of necessity when “fanatical” (her father’s words) customers come to their door. As the military (and comically inept bureaucratic) forces converge to strike down the terrorist cell next door, the easy, kind-hearted daily rituals of this little family end up in the cross-hairs (literally). I don’t want to spoil the film, but I could cry right now just typing this.
You must see this film. It is humanist. It is feminist. It is fair. There isn’t an ounce of jingoism, but it is patriotic- that is, if you see patriotism, not with the skewed xenophobic nationalist lens that has ruined the word, but as something that certain leaders must carry in their hearts and minds and actions to preserve a larger peace for us all. And the film never shies from the idea that said peace for one group has a yin/yang consequence on another group down the line. Every action has an equal and opposite reaction. Our political and military decisions carry racist, sexist, classist implications. They all come at a cost – to life on this planet and to our souls.
At the film’s conclusion, Rickman (who is a beautiful tempest of persistence and exasperation in the film) dresses down a well-intentioned bureaucrat to never doubt a military man’s (woman’s) deep awareness of the bloody price of war. That’s the genius of this film. No one is a villain; no one is a hero. Choices are made pragmatically, and it is that crushing pragmatism that tortures every character in the film. Ultimately, like us all, the characters in Eye in the Sky just hope to make it through their 9-5 days relatively unscathed, go home, take off their shoes, pet the dog, love their kids, and sleep.
When the director of the movie you’ve just reviewed tweets out your post … #Cloud9here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.