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Hart's War

As the latest in a long string of war-oriented dramas and action thrillers to come along after the success of "Saving Private Ryan," "Hart's War" is a mixed bag of different genre venues, dabbling in such elements as racism, the issue of skin color and uniform, patriotism, a soldier's sense of duty, and, of course, some pyrotechnics thrown in for good measure. As a war movie, I will admit that it stays true to formula; as a powerful, effective piece with something to say, this one's a prisoner of its own war to stay alive. ***

Even the film's promotional trailer, hyped up with super-charged intensity as many previews are, can be faulted for its false impression and its revelations of many key plot twists. We know that a murder has taken place in a German P.O.W. camp, the suspect being African-American Lieutenant Lincoln Scott (Terrence Dashon Howard). As the camp prepares for a trial, Lieutenant Tommy Hart (Colin Farrell) is appointed to defend Scott by his superior, Colonel William McNamara (Bruce Willis), who is using the trial as a diversion for an escape operation. ***

This much we already know; the only catch is, what appeared to be an exciting, energetic war drama is actually an extensively lengthy, undeniably tedious exercise in subtle suspense that lacks the intensity it needs to fully take flight. What's more, what little is left to surprise is surprisingly dull. The opening act of the film, which begins with Lt. Hart's capture and interrogation, is meant to set up his future confrontation with Col. McNamara, while scenes of racial angst among the prisoners when the two African American soldiers arrive isn't quite as hard-hitting as it should be. ***

Director Gregory Hoblit's ("Frequency") handling of the material plays by the rules of war movies, but never merits much emotional connection to its characters or their plight. There's the standard themes of courage, honor, and heroism, evident in Hart's struggle to provide justice for Scott, and in the film's ending, a cap-off of forced patriotic sentiment. The few sequences involving gunfire, explosions, and combat, come at the film's beginning, and are dazzling but never energetic. ***

Even the characters themselves hold little interest, despite credible actors filling the roles. Lt. Hart, as played by Farrell, is the film's most complex, with a real sense of duty and solidarity in his actions. Col. McNamara undergoes an identity crisis of sorts: we come to admire his brutish appeal, but it later becomes despicable once we know his real intentions. There is some nice tension between McNamara and German officer Col. Visser (Marcel Iures), but even that is short-lived. ***

One could say that "Hart's War" is this year's "Behind Enemy Lines," but at least that movie had the good sense to at least try and mask its lifeless story with some exciting, well-choreographed action and firepower. Here, we are subjected to long periods of boredom and listless wanderings through war movie cliché and predictability, due in equal parts to revealing promotional material and Hoblit's strenuously disinteresting direction; despite a promising premise, this "War" is about as exciting as a thumb-war match.

Another fine mastering effort on the part of MGM. The images work well in preserving the cold climates and dark landscapes of the setting, with sharp edges, drained colors, and overall splendid appearance. The sound is superb, with deep, gutteral bass for the explosions, and perfectly centered dialogue and wrapping surrounds.

Aside from the initial commentary, nothing else is really that involving. The deleted scenes, while being fully produced, are just as boring as the movie itself, and the photo gallery is strictly for fans, as are the trailers promoting other MGM releases.