12 Strong (United States, 2018)January 19, 2018
12 Strong represents a recent war as depicted on screen in an old-fashioned way.
Back in the 1950s and 1960s, war movies followed an established template that pitted the “good guys” (often Americans) against the “bad guys.” Such films focused on battles and usually ended with a hard-fought victory. In the wake of the unpopular Vietnam War, however, a new breed of war films emerged. Those focused on the less heroic aspects of combat, often with brutal depictions of the associated carnage. There was also greater attention paid to the difficulties many soldiers had re-acclimatizing to life at home. A majority of war films made post-1970 fell into this category with traditional/throw-back fare representing exceptions. 12 Strong fits into the “exception” category.
The tone falls just short of the macho, kick-ass feeling of a fictional action story. Although the film acknowledges that war isn’t exclusively a rah-rah experience, it tends toward glorifying combat rather than emphasizing its dehumanizing aspects. Of course, that’s by intent. Director Nicolai Fuglsig (making his feature debut) has set out to provide a testosterone-laced, visceral account of events in Afghanistan during October 2001; his intention isn’t to offer a dark exploration of the impact of war on the psyche. To that extent, he is successful. The battle scenes are well filmed, replete with the requisite doses of adrenaline. There are instances of suspense and moments of intensity. Although the characters are all types, the performances are strong enough that we identify with them despite their lack of depth.
The story at the foundation of 12 Strong is based on the events related in Doug Stanton’s
non-fictional book, Horse Soldiers. Some
changes have been made to allow for a “more cinematic” experience, but the
essence of the narrative remains true to what really happened. Still, those
interested in the full account are pointed toward the book; Fuglsig’s
adaptation is interested primarily in pacing and excitement. The filmmakers’
few attempts to expand the canvas generally don’t work. The opening scenes,
which establish family relationships, feel trite and perfunctory. Equally
unconvincing is the relationship between one of the soldiers and the Afghan boy
assigned to be his “protector.” There’s also an out-of-place sequence showing a
Taliban mullah killing a teacher for instructing girls in reading and math. I
suppose this is intended to emphasize the evil of the Taliban but it feels
gratuitous and unnecessary.