Little is known about
what actually occurred in the waning moments of United Flight 93 on the
morning of September 11, 2001. All we have is the mute cockpit voice recorder
and the recollection of families based on cell phone messages received
from passengers before the hijacked plane crashed in a field in Shanksville,
Pa. with no survivors. We also have the speculative recreation of director
Paul Greenglass (Bloody Sunday) in his powerful film, United 93. Shot by
Barry Ackroyd using a hand-held camera that makes you feel part of the
action, (not recommended for viewers with a tendency to motion sickness),
the film dramatizes the efforts of some passengers to free the plane from
their captors whom they believed to be dedicated to carrying out a suicide
mission, presumably in Washington, D.C.
Using more than 100 interviews
with families, friends, and civilian and military officials, director Paul
Greenglass shows us what might have happened to the 40 passengers and crew
of the ill-fated plane.
Striving for a documentary-like
reality, Greenglass uses unknown actors and key civilian and military personnel
to play themselves, including Ben Sliney who was in charge of the FAA command
center. The film, however, does not hesitate to utilize conjecture such
as a terrorist placing a picture of the Capitol building on the cockpit
steering wheel or details of a final heroic assault on the cockpit.
United 93 begins in chaos
and ends in flames. From the barely audible entreaties of the hijackers
that open the film to the final prayers of the passengers and crew, the
film revisits the fear and confusion of that day. Shifting between the
passengers and crew as they prepare the plane for takeoff and air traffic
control centers and FAA headquarters in Virginia, we watch helplessly as
the nightmare unfolds before befuddled air traffic controllers and military
personnel. Without belaboring the point, the director makes it clear that
the lack of communications between key sectors and the unavailability of
the President and Vice-President contributed to the disaster. Unlike Michael
Moore's Fahrenheit 911, however, there is no explanation of the fact that
the Air Force requests orders from President George W. Bush but receives
none.
Excruciatingly slow to
move, when the leader Ziad Jarrah (Kahlid Abdalla) decides the time is
right to take over the plane, we brace ourselves for what is to come, knowing
there can be only one result and the last fifteen minutes are extremely
harrowing, to say the least. While, to his credit, Greenglass does not
add extraneous human interest dramas, political commentary, or overt demonizing
of the Islamic hijackers, the decision to avoid character arcs is both
a benefit and a detriment. While it avoids reducing the action to the level
of a TV movie of the week, it also deprives us of any knowledge of the
individuals involved, knowledge that might help us care more about what
is happening.
United 93 does not bring
closure to the tragedy or put it in perspective relative to subsequent
events but only succeeds in rekindling our anger toward Islamic militants
and, perhaps inadvertently, supports the Bush agenda. The result is a powerful
experience but one that is strangely devoid of humanity and left me feeling
drained and depressed with little space for quiet reflection or contemplation.
GRADE: B
Howard
Schumann