We are awash in war films, and why is it that nonfiction films such as Dirty Wars or Iraq in Fragments increasingly resort to the dramatizing techniques of narrative film, while fiction films strain toward procedure, as if to avoid the sticky business of interpretation altogether?
For the better part of its first hour, Lone Survivor — a fact-based procedural about four Navy SEALS dispatched to document the activities of a high-ranking Taliban operative in Afghanistan — rehearses preparation in obsessive detail. Sure, there are the familiar faces you’d expect from a men-at-war action picture: Mark Wahlberg, Ben Foster, Taylor Kitsch, Eric Bana, as well as one (Emile Hirsch) you might not. A back story is sketched in here and there to heighten the pathos of what follows. No spoilers necessary; the grisly outcome, if not the finale, is all in the movie’s title and its opening sequence.
But mostly it’s ripped male muscle being put through its excruciating paces by yelling drill sergeants, meticulous planning at Bagram Air Base, the loading of high-tech gear, the whir of choppers — all the busy stuff of a brutally efficient Peter Berg movie.
Until, that is, everything goes quiet, the four are on their own, and the Watershed Moment arrives. On a steep mountainside, the SEALS are confronted with a family of shepherds, one of whom — a handsome boy — stares at the Americans with hatred in his eyes. The inscrutable patriarch carries a walkie-talkie. Are they for or against the Taliban? Do the rules of engagement apply or the rules of survival?