The key problem in Peter Berg’s Lone Survivor becomes apparent in a mere matter of seconds. Firstly, given the somewhat revealing title, we know from the offset that only one of our protagonists is to make it out alive. Then as the film begins, we see a wounded Mark Wahlberg, fighting for his life as he’s rescued from a war zone. Any potential element of surprise is removed from the narrative in this very instance, as not only do we now that there’s only one survivor – but we know who that survivor is.
Based on real life incidents, Wahlberg plays Marcus Luttrell, a key member of SEAL Team 10, on a mission named “Operation Red Wings” – to capture a disreputable and notorious Taliban leader. Alongside his compatriots Michael Murphy (Taylor Kitsch), Danny Dietz (Emile Hirsch) and Matt ‘Axe’ Axelson (Ben Foster) – the vulnerable group soon find themselves under an intense and unsuspecting attack. Though severely outnumbered against their opponent, the group are adamant to not be outwitted, despite their position seeming untenable, and their fate bleak.
Though certainly highlighting the distinct bravery and heroic, laborious nature of being a Navy SEAL, it’s a notion that has been somewhat forcefully implemented, in a similar vein to the recent thriller Act of Valour. Berg has presented a chilling, naturalistic take on war however, as he moves between mundanity and tragedy with a fluency, shadowing exactly what war is like – and how soldiers can be compromised at any unprepared second. Berg also does well to highlight the stark differences between the banter of the SEALs back at base camp, and the excruciating intensity of the battle – as the two worlds seem so incompatible and far apart.
The majority of this title takes place amidst this unforeseen war-zone, and it makes for an unrelenting affair, with little respite offered throughout, as a battle sequence that lasts the entirety of the middle act. There’s a deafening sound design implemented too, and you hear every crunch of the bone and thump as these bodies crash against the rocky surroundings. Berg also moves between intense, loud sounds with complete silence in the blink of an eye – a technique that had been used so effectively in Gravity.
The realism to the piece is enhanced mostly in death, as the killings of our protagonists are not long-awaited, James Bond style conflicts, of the “We meet again…” variety. Instead the SEALs are shot dead by faceless soldiers with little warning. We don’t dwell on their killer, they just represent the enemy in general. It’s not personal, it’s war. Meanwhile the performances are strong, and each actor is blessed to work with a fleshed out character, each equipped with his own, vital back story, treating them well when they’re close to death, allowing the viewer more to emotionalise over.
Compelling at times, ultimately Lone Survivor doesn’t bring anything new to the genre, and is somewhat flat emotionally. What Berg does achieve, however, is an evident aptitude to portray war so astutely and sincerely, and though their battle is somewhat small scale in the grand scheme of things, for these men and their families back home, it’s a matter of life and death, and this notion is one Berg certainly enforces, allowing us an authentic insight into the daily ongoings in the continuing war against terror.
Any such achievements in that department are soon pushed aside as we reach the finale – where Berg feels inclined to be overstated, melodramatic and overtly mawkish, detracting from the realism of the piece. It’s then followed up with a moving tribute to the real life soldiers this film is based upon, but when accompanied by an unbearable cover version of David Bowie’s Heroes, it all gets a little uncomfortably manipulative, as you half expect Uncle Sam’s name to pop up in the closing credits as executive producer.
[Rating:3/5]
