Young, but zealous CIA agent Maya is assigned to Pakistan in 2003 to aid in the hunt for the Saudi Group, a band of top level al-Qaeda operatives, of which includes Osama bin Laden. Her first real chance to get her hands dirty is assisting with the intense interrogations of detainees at a CIA “Black Site.” Fellow agent Dan (Jason Clarke) is “hard-pressing” a prisoner named Ammar (Reda Kateb), who has a paper/money trail behind him that leads directly to the aforementioned cell. Although he resists to cough up anything of value, even amongst the most maligned of “tactics,” a simple “black veil” of mislead information tricks him into giving up the name Abu Ahmed. While Maya believes this is THE solid lead they’ve been working towards (a perceived “direct link” to bin Laden), Station Chief Joseph Bradley (Kyle Chandler) does not share her same sense of vigorous optimism. But Maya’s sense for the “pulse” of Pakistan keeps her attention squarely on Ahmed, in the hopes that he is the key to finding the whereabouts of the most wanted man in the world.
I apologize for the cryptic synopsis; I didn’t want to reveal too much about the inter-workings of the plot line. But this is kind of indicative of writing about this project in the first place. Putting into simple words what makes Thirty so dynamically great is tough. This thing doesn’t hold your hand and infer (if not explicitly) tell the audience what they should be taking from scenes. Don’t get me wrong, I’m not saying this is a “brain bending trip” that might be considered a muddled mess. But you do have to actively apply yourself within the “goings on” in each scene to connect the dots. This film scored very high with “the critics” (a 95 on Metacritic with all scores reporting “green”), but continues to be just “good” among IMDb users with a 7.6. Thirty is not one of these overly dramatic indie stunts where a “breakthrough performance” inspires the experts to fall head over heels, while John/Jane Doe movie watcher gets that the thing was confusing, boring, and uninteresting. This is a really well rounded film, it just takes some effort to see it. I’m fearful the 7.6 is being bred by a lazy viewership.
Kathryn Bigelow teams up again with writer Mark Boal. Their last cooperative work, The Hurt Locker, took in quite a haul at the 2010 Academy Awards, with Director and Picture included. But much like Thirty, that also wasn’t as “smashing” with average viewers. The basic formula from that applies here. It feels that Bigelow/Boal were camera wielding ghosts throughout the process from ’03 to May 1st of last year. I wouldn’t say it has a “documentary” appeal, per se, because there are never moments of character’s addressing the crew or any of that kind of deal. It’s just as though the audience is “hovering” above as on-lookers to real people in extraordinary positions trying to accomplish what, at times, seems impossible. It’s a style that isn’t adapted too often by directing/writing tandems, and Bigelow & Boal have cornered the market on it to this point. ALL of the fat is trimmed from scenes, no wasted movement. Everything shown is meant to directly affect the developing narrative. The script also shares this sense of “marching forward.” So where’s the humanity? With the human beings.
It’s clear that the players were given a fair amount of freedom to give this lean meal some spice. Jessica Chastain’s performance shows one of up most professional sincerity with an underpinning of youth and vulnerability. The initial interrogation at Black Site is a perfect example. She’s able to “keep it together” throughout, but it’s clear through her mannerisms that Maya has never seen anything like the horror happening just feet from her. The character quickly “toughens up” over time because her detail calls for it, but there are short, treasured moments of joy sparingly strewn across an otherwise no nonsense plane. Chastain is incredible, and deserves every accolade she has accrued for her work on this project. The others definitely have a lesser stance, and aren’t offered Chastain’s dynamic opportunities, but that doesn’t belittle their solid work. Jason Clarke is perfect in his moments, and has that anti-hero thing going for him. There’s a job to be done, and he’ll attain the required intel by any means necessary. In contrast, Jennifer Ehle’s role as Jessica gives an easily likeable, relate-able member to the CIA team. She’s able to inject a little sense of calm, and becomes a very cherished asset to Maya’s mental/emotional stability. During the “Canary” portion (you’ll know what I’m talking about), guys like Joel Edgerton and Chris Pratt do a stellar job in emitting that “give ’em Hell” and “brothersi n arms” spirit we would expect to see from SEAL Team Six. Thirty uses our pre-conceived notions, and speeds up character development for these guys so that when they “breach,” we’re completely on board and we want to witness DEVGRU succeed. For country AND for them.
Other crucial production aspects share the same high level of competency. The cinematography is spot on through all the adjustments the story goes through. From desert prison camps, to Washington D.C. Headquarters, to the site of the operation. All backdrops have their own distinct feel and help to assist in the desired effect of what is being played out. While this is definitely a “no holds barred affair,” the action never crosses the line of being unnecessarily uncomfortable. Fitting with the lean motif, there are no scenes of grotesque violence or gunfire or explosions just for the sake of action. The sound design shares the same sentiments. Everything is proportional to the moment, and doesn’t overstate the obvious. The accompaniment is a perfect example. The musical score is subtle, but gives plenty of directional drive and emotion. Scintillating-ly pleasing tension can be found here. That steely anticipation for the next big step in the story.
The presentation is pretty good in most regards. Admittedly, I have seen better looking DVDs, but it isn’t what I would consider bad. The photography comes across clearly and offers a decent amount of solid resolution. The 5.1 Dolby Digital track is really, really enjoyable. Spacial recognition from the various channels is nice to hear. And the little minute details, that can sometimes be lost from the theater to the home theater, are also present and accounted for. The Special Features section isn’t what I would describe as plentiful, but it does have some interesting entries. “No Small Feat” is a short, traditional “making of” doc that has Kathryn Bigelow talking about how she was already working on a similar story, but the course of history “changed the game” and forced a new script. Also has many cast members talking about her effect on the film and the way story and people took center stage. “The Compound” details the construction of bin Laden’s Pakistan hideout with commentary from Bigelow, cinematographer Greig Fraser, and Mark Boal. “Geared Up” shows the real life training that the DEVGRU actors went through to prepare for the “infiltration” scene as well as recreating the actual gear used by the aforementioned Development Group. “Targeting Jessica Chastain” speaks about the actress’ decision to depict Maya, what attracted her to the role, and the way the character changed from the start to the end of the film.