Flight, the
new film from writer John Gatins and director Robert Zemeckis, has an
incredible set piece near the beginning of the movie in which a pilot (Denzel
Washington) is forced to crash land a plane in nightmare conditions by making
it roll 360 degrees (flying upside down for awhile) and coming down on a field
near a church about ready to do some Sunday go to meeting baptisms. It’s an amazing technical feat (and not just
the landing, but the filming as well) and it’s an exhilarating start. When this section is over, the movie sets up
an equally incredible enigma: Whip, the pilot, was drunk and had cocaine in his
system when he performed this unbelievable stunt; but that wasn’t the cause of
the crash. And Whip’s handling of the
landing was something that ten other pilots couldn’t have done sober. So the whole movie seems more than ready to
tackle issues and questions brought up by this fascinating conundrum.
And then the
movie becomes…something else, something else entirely, and something that has
nothing to do with either the crash landing or what sort of punishment should
be given to a pilot who is able to make a miraculous landing (Gatins’ words,
not mine) while drunk. It actually
becomes a rather routine, formulaic The Lost Weekend, The Days of Wine and
Roses, When a Man Loves a Woman, Clean and Sober (fill in with your favorite
film in the genre) story about an alcoholic.
Six people
died in the crash and a huge number of people were seriously injured. But is this their story or is the story about
the crash and what it means? No. Believe it or not, all of this is chopped
liver. All of this is a macguffin,
because the only reason for any of this, the only purpose for all these deaths,
the only purpose of the crash, the only reason for all this destruction is so
that Whip will start going to AA.
I’m not
kidding. I am totally serious. And to back up this idea, there’s a ton of
talk about God in the movie and whether everything is preordained or has a
purpose, whether everything that happens is just part of an overall plan. To be fair, all this mention of God at times
tends to be a bit metaphorical in that whenever the big guy’s name is
mentioned, He’s a stand in for all the unforeseen and uncontrollable things
that happen in life, as when destruction from a hurricane is an “act of God”. But still.
And it’s not
that the movie is without its positive aspects. But oddly enough, it’s not when the film
focuses on Whip’s journey, but when it focuses on the issues related to the
crash that the movie really comes to life.
Both Don Cheadle, as a long suffering lawyer, and Peter Gerety, as the
owner of the airline, stand out as the few who really seem to understand what
is really going on and that the meaning of the crash is the crash and that
Whip’s journey is actually a hindrance and just getting in the way of the real
issues. When Gerety tells everybody off,
I thought, finally, someone who really gets what it’s all about.
Washington
is fine as Whip, but he’s always a lot more fun when he’s playing anti-heroes
like here, people you would not want to meet in a darkened alleyway. Melissa Leo also makes her mark at the end
because, like Cheadle and Gerety, she’s in a different movie. The low point, though, has to be John Goodman
as Whip’s connection. Goodman is one of
our finest character actors, but here, as in Argo and some other recent films,
he’s been reduced to playing, well, John Goodman roles, and he deserves better.
In all
fairness, I should point out that many in the audience around me were deeply
moved. But I just couldn’t join in. For
me, if truth be told, I was bit offended.
Here I thought that Leibnitz and the philosophy of “the best of all
possible worlds” ended with Voltaire’s ruthless satire Candide. But apparently not. No matter how awful things are, no matter how
many people die, no matter how much destruction there is, it’s okay, because
there’s always a silver lining. People
can die, but their death has meaning because it helped someone enter a recovery
program. Really.
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