If "World Trade Center" were not a movie based on a real-life event, critics would tear it apart for mixing genres, comedy and tragedy, allegory and realism, documentary drama with theatre of the absurd. The script juxtaposes mind-numbing conversations between two Beckett-like characters trapped underground in darkness, barely visible, with soap-opera episodes above ground rendered in bright colors where the families of the two men eat, sleep, argue, cry and wait for the news they pray is good but fear is not.
Aristotle would not approve.
The movie is about real life, an event not quite five years old. It's a contemporary docudrama based on what happened to two Port Authority cops (played by Nicholas Cage and Michael Pena) trapped under debris at Ground Zero, who can't move in the stone and steel trappings that lock their bodies under the earth in an inferno. Everyone in the theater will recall where he was on September 11, when two airliners piloted by Islamist suicide bombers smashed into the tallest buildings in Manhattan in the name of Allah. That sunlit day, so ordinary but for the clarity of the light, was suffused in a dark drama of evil, where the fire and brimstone arbitrarily fell on innocents as well as villains hell-bent for divine punishment.
"World Trade Center" mixes personal memories with political emotions requiring the audience to bring as much to the movie as the movie delivers to the audience. It's impossible to write about it with an eye for discerning aesthetic triumphs and failures of film narrative. It's too close, too raw, too unrelenting in its inevitability to think of it as a work of art. Instead of suspending disbelief, we must patch together our beliefs; instead of enjoying an emotional catharsis that lets us go about our business, we find a solitary Marine (played by Michael Shannon) speaking out for us and our overwhelming desire for revenge against all the evil men who wrought such pain and devastation.
Oliver Stone resists the interpretation of the lone Marine, but the movie sends it in spite of the director's well-known politics. It's impossible not to watch two hours of unrelenting suffering without confirming the voice of the Marine who speaks as if a Greek chorus: "We're going to need some good men out there to avenge this." Oliver Stone was encouraged to cut this line, but couldn't because it rendered the young Marine as real.
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