By Julie Griffin
A first battle of the film opens up at the neck of the explosive pit of the Afghanistan war zone named the trashcan. However, the soldiers survive an attack of opposing military snipers and as their air craft goes down, the situation soon becomes clear. One man's trashcan is another man's heaven. The fact that the ensue of evil and the sudden and apparent reality in which this north find themselves in, they need only lie down and wait for rescue on the emotional ground of a mysteriously native soil. Playing a heartwarming role as a conscionable, professional journalist Meryl Streep as Janine Roth and her candid realness defines the meat of the representational theory of the film. "Meet the new boss. Same as the old boss," she eventually sumises and delivers the final report to her boss at the television station. Comparing the war of Vietnam to the war of today, Streep points out that while the majority of youth today do not really understand the political strategy, once many of the educated youth of the 1960's began to catch on to the truth, they began to protest. A traditional journalist and obviously raised up to patronize writing the truth, hyperbole, argues a more Ivy League Senator Jasper Irving, Republican presidential hopeful during what he pegs as meetings, Janine and the man do not see eye-to-eye. She sees straight through his, "Lubricant to get into the White House." " "Whatever it takes to win. Whatever it takes." " And confronts him on every issue. At the same time, Janine quick to ask why the senator wants to jump past NATO, and although the present and contrasting dynamic of announced soldier wind downs by the military, Irving argues for a more lasting temporary presence, while Janine finds the loss of young life and potential to violence tragic. The film does make you think about why with a world of such technological advance and seeming general concensus of a higher intelligence among mankind, does man still feel the need to win things he wants through force and violence. After all, if a voice is available, then the possibility to make a right choice might not lag far behind. But the film also addresses the age old problem of man wanting what another man already has not only for reasons of pleasure, but for reasons of the covet aspen of power. While food, shelter and clothing is the basic given for contentment of each living being, men have mysteriously continued to embrace evil to control the riches and lands of others. Therefore, this structural film record looks to defy the situational illusion of real war and while also not a illusory film structure, the fiction story of real life reveals, and even the professor confronts the young man with the same quest, to uncover the fear of answering his life work with the profound measure of what he is. "The kid who didn't read the assignment becomes the center of one of the most interesting debates I've ever been a part of. Where did that kid go?" Professor Malley brings forth the idealist belief of his gifted students, and like those who stand out, he also contrasts with the more liberal point of view of Janine. The respect of the three very different private socio-political agenda of thrust of the senatorial Harvard graduate, the journalist, and the professor also makes use of the particular structuralist film style and the given representation of one fluid thread of the film, which is to imply that America really is still a democratic and not a socialist process. The professor brings out the argument that the most economically deprived children of the nation get sent to war first, and primarily to the most violent of front lines, while those whose parents covet a more economic high rise of fortune, seem born with an automatic endemnity. And Janine the journalist, passionate about the kids of the American nation offered up unlike the priviledged senator as bait to the god of men. And who only want a chance to play with brand new war toys, while it seems her news story boss only wants a censored timeline.
"What happened to you, Howard? Time was, you'd take a punch at anybody if you thought it was justified You were good once." "You can't leave me hanging out here by myself. You just can't do that to me. If we don't do this, Howard, whose gonna do it? This is the job. Oh well, if we had known then what we knew now." Janine fairly criticises those who pretend that the problems never existed, who in order to want to find a way to just go on are the same kind of people who cover it all up. "It was all right there if we had bothered to connect the dots. We just rolled over." Janine states the truth about those who do nothing and let innocent victims suffer. At least until it hits the home base. The senator, of the new school of thinking, who claimed an adverse desire to run for president, the upper middle class college student, Todd pointed out during his meeting with the professor that the very kind of nation that supports the person whose covered up secret desire relates to the national dissapointment that drives people to want to live for material goods alone.
A more steady intrinsic film technique, a trifold duration of three different conversations going on at once, watching the film reminds the viewer of the Stars & Stripes of the representative form of repetition. At least one of the communications consists, as accentuated by this critique, of living what some often only talk about. Even the professor, Dr. Stephen Malley, promotes the means of students to not only think for themselves, but to also live up to the fullest possible potential. He displays the teacher worthy of appreciation, the dedicated master who works hard both to train and bring out the best in each of his charges. The professor speaks with passion to the student about people who try to change things for the better, and of all of the others. And the professor as director of the film, also tells the story of an evil world void of morals on several levels. In short, even the most pontific scene where Jean wipes her human eyes of tears that spill down as her chauffered cab goes by what appears to be the Arlington National Cemetary, the actual holy grounds. The exhumes of those who suffered for this new country, that it might be not just a little somehow better than all of the other countries in the world ~ But that it would be an outstanding utopia. Even the final song of the film, "Yankee Doodle Dandee," reminds the viewers that some kind of spirit meant to secede the ages of what politicians call this great country, the formalist founders who left Europe to establish the colonies of America envisioned a place where leaders saw fit to honor the same kind of freedom, which is really the decision making process given as a gift to each citizen. And also a place where citizens might find the opportunity to establish themselves amidst a varied degree of community atmosphere, free of the sudden surprise or cruelty of a more European monarchy of the control and oppression of the common person.
A detailed promotional meeting to propose a more strengthened war on terror, the initial agenda of Senator Jasper Irving R-Ill played by Tom Cruise, to give journalist Janine Wroth played by Meryl Streep, Wroth after her only primary inception of the given information takes her time to think about the truth behind the proposal. Already on the edge of an exhaustive breakdown, Ms. Wroth has other ideas about reporting the timeline project at the given slant, which supports the encouragement she believes of sending a more impacting and greater amount of intelligent and youthful individuals, whose lives wasted needlessly and uselessly, she clearly fears the brokeback numbers of these possible and more future later dead. Wroth suspects the advantage of the senator denies the journalistic basis for a true news story and as flashbacks of the past mere propaganda.
The dynamic of the 2007 film that America seemed to fail to patronize enough, makes a statement that the film also revealed, that the gyst of the story borderlined a more techno version of the WW II propaganda films intended to entice young men and women to join a more wartime military. The factual fiction document makes an imprint of an important slice of historical time. Written by Matthew Michael Carnahan, and Directed by Robert Redford, the sad and near final scene of the film where the college students who enlist for the frontline lose their lives leads directly to now college student Todd and a buddy watching a television news show where a young television movie star contrasts with the icon.