"Better ten years of negotiations than one day of war" — once said to the famous Soviet diplomat Andrei Gromyko. Man, never participating in military operations, made his motto anti-militarist Orthodox postulate, the most demonstrating a stark contrast with the warriors that survived more than one meat grinder, and neither least have lost the desire to kill everyone who sword of Damocles hangs over for their government. Government that sincerely care about the number of human victims thrown into the greedy jaws of mass graves before get more or less trampled area for the signing of another surrender. The government, which...Wait, we are still not about it. Bypassing the tasty piece of cake, promising another parapolitical talk and discussion, Gibson-Director deliberately takes the canvas of the painting in a totally different direction. The destiny of man, in the background, a lonely figure which was open terrible throat the Second World war. A bloody duel of the two Nations at the Okinawa is not. as a way to again to divide the States and Japan by default, the right and consciously to blame. So heard that "enough!", spoken with a subtle Australian accent, putting a point in the one human destiny around which all commas. Not Godard. Not slightly. Not Bertolucci with his beautiful revolutionary trait in each elected characters. From each has its own way. Desmond Doss, ready to argue, would have signed every word of the last sentence.
It is not known who was the father of an ordinary Doss, and raised whether he son as tell about this scene from "For reasons of conscience." Disturbing true story with fiction, Gibson, the however, creates a portrait, as close as possible on their moral (and physical that could be hidden) qualities to the man who is destined to appear on pretaroli documentary records. Man is a paradox. Slender, if not to say frail, smiling and not particularly causing the Association with a brave Martinet, of which water, fire and copper pipes change bigger than unbridled plastic — current Hollywood gods of Olympus. Customize kicks colleagues, precipitated perplexity and dissatisfaction of the authorities, thrown in a lack of better options, under striking eye the Tribunal, Doss came from the ashes of humiliation a La the Phoenix, — qualifying for the final only the main military award in the form of Medal of honor, but and a whole set of symbolic ringing of the coins in bright ribbons in which "For faultless service" looms the most ironic grin. For not just to survive the horrors of war, but and endure working on the weathercock politics of his native state Doss have to have really strong nerves and remarkable faith. However, on the shortage of it never did not complain.
And what a feat, you ask? Gibson seemed to be stratifies his picture on two cultural layers, the first of which — "Defend their country", the second — "Defend yourself." In both cases, each viewer is able to find personal, subjective value, however, in the question that has final to win — priority of the state over the person person over state — tape biconvex interpretations not allowed. For more convincing historically conditioned identity Doss is virtually ideal, so as it was forged not only during the persecution of basic, but and the battlefield where a terrible mutual attacks claimed the lives faster than the cartridges are stamped on the conveyor. Bullets, literally chews the meat with bones. The Japanese emerge from the underground holes, akin to the poisonous, ubiquitous gas — their territory, their obsession, their Outlook, erecting death in the battle of the degree of desired absolute. War, like a terrible Moloch that grinds an inexperienced recruits and even middle-aged officers, cowardly and brave, smart and narrow-minded. Like a whirlwind, megasha a mountain of corpses, regret, and a natural empathy for the surviving is much more suitable for reports of the plan, rather than long arguments in poorly lit corridors. The more so Gibson, learned his craft in the brutal art naturalism issued scenes, the viewer sensitive spare not particularly used, making recognizable, bronjuice, accent. Ishlist scenes of agonizing death from the pages of the New Testament in the Passion, enlisting the bloody theocratic component of the "Apocalypse", the Director continues to Torit taking for the soul of the track on the theme of the suffering of the flesh and of the spirit, able to either destroy or elevate your vehicle, and similar stories get him, pay tribute to, to be extremely successful.
Perhaps even the skeptics, as usual mersadies from any derived "based on a true story" (by the way, not always able to give the adaptation a little bit of cultural significance), will be able to catch a minute of silence for the documentary footage of an interview with himself a member Doss — scored for many decades old, gray hair and arthritis. His words "And one more and one more, and one more..." sound from the screen a magical spell, so unlike, for example, full of snake venom stiepiena of Shakespeare's "Macbeth." The latter carried in their lines the prediction of the suffering and imminent death, in as Doss prayed for life. About that it God has allowed to pull out of make left behind the cooling corpses still one of the survivors. It is strange and painful to hear these words the hushed gloom of the hall. Strange because it is unnatural to go into hell, no to turn off desperately screaming instinct of self-preservation. Hurt because with a distinct clarity, following Note Hemingway and desperate sorrow at the advanced, realize that no war, no one piece of disputed land, no assurances about the strategic importance of those or other objects covered with the heat of red-hot front, never will cost those victims who were given to them.
