Body of Lies

Body of Lies – 2008

War films have always been a spectacle at the movies. While a hurried deliberation, may give the assumption that movies based upon wartime and conflict would have a narrower audience then those films portraying less heavy subject matter, the contrary is often the case. War films often cater to a larger base then credit is given, as some will flock to see a piece of history, others to see the love-soaked romance that Hollywood was wedged in-between the blood-soaked battles, others like the action, and others the drama. Maybe most of all, it is the fact that movies centered around hostile circumstances often bear the truest of heroes and the vilest of villains that piques the interest of the every-man. However, contrary to past conflicts, that of the Middle East seems to be the opposite of what people define as righteous and what sparks wonderment. And while I have to agree, that should not discourage people from delving into the situation on a purely cinematic level, to better understand and to form their own opinion, especially when viewing a movie as well crafted as Ridley Scott’s Body of Lies.

When examining cross-sections of the Iraqi conflict it is difficult and important not to portray the locals as faceless murderers, as most are just citizens who want the war to end, and detest terrorism as much as everyone. Body of Lies does this well, by giving us a central antagonist, but a number of Arab allies as well; something that last years The Kingdom did less effectively. If anything, you can draw more similarities with the Don Cheadle film Traitor, which are both more of a window into a situation, then a gimmicky and one-sided battle film. Ridley Scott’s follow-up to the sensational American Gangster is about as contradictory as one could expect, but if history has shown us anything it is that Scott is not constrained to a single genre. This feature is a typically sharply written and slow burning effort, with the usual interlay of fiery skirmishes and emotional confrontations that piques interest and demands intelligent thought.

Leonardo DiCaprio continues his string of excellent performances as Roger Ferris a CIA operative working in Jordan and other parts of the Middle East who is attempting to net an illusive terrorist bomber named Al-Saleem who has dropped off the grid using low-tech methods of operation. Providing support, mostly from over-seas while taking his kids to soccer, is the pompous Ed Hoffman (Russell Crowe, who is merely solid in this effort) who cannot help but interfere with Ferris’ tactics. Deciding to somewhat distance himself from Hoffman, Ferris enlists the aid of the Jordan Chief of Intelligence Hani Salaam (Mark Strong) who demands nothing but loyalty, to entrap and track Al-Saleem. Complicating things is a lovely nurse Aisha (Golshifteh Farahani) who looks after Ferris after his latest scuffle. But lies are rampant in Jordan, and Ferris soon learns he cannot trust anyone and must test how far he can go to without destroying everything he believes and everyone he cares for.

There are not so much twists in Body of Lies, as there are intelligent revelations, which eliminate the need to manipulate the storyline simply for the final hurrah. Something audiences seem to miss with movies like this is that they are often not directly about the war, but about the people, their lives and the cost which everyone pays. While not without foibles, Body of Lies is solid intelligent entertainment, and those looking for a dumbed down splatter fest should look elsewhere. Framed by the performances and highlighted by the glossy action and poignant dialogue, Body of Lies never seems one sided, yet never seems like a cop-out, it is fully realized entertainment that pulls truth from its lies.