Tag: terrorist

Day Night Day Night

  By

★★★½
“Is it live, or is it Semtex?”

This is one of those which split the panel here. Chris was thoroughly unimpressed with its lack of a well-defined conclusion: “I knew it,” she muttered, “As soon as I saw this had a woman writer/director.” Certainly, if you are looking for a clear, structured thriller, this won’t be for you. Explanations are notable by their absence, as we learn about a young girl, preparing to stage a suicide bombing in Times Square. Who is she? Why is she doing this? What group is helping her? We never really learn explicitly. There are occasional clues, such as an Islamic-themed backdrop in front of which she is carefully posed for the traditional video, but as we never get to see the video, it’s inconclusive. We get hints of family trauma: she says her parents are dead, but later on, calls them from a payphone, and the only possession she wants to keep is a photo of a kid brother. But “Leah Cruz” – the woman whose identity she adopts, and on which she is relentlessly quizzed by the cell commander (Weinstein) is basically a blank canvas, onto which you can project whatever you want. “I have only one death and I want my death to be for you,” she says at the start; that’s as much of an explanation as you’ll get.

It is a cop-out, no question about it, and I can’t blame Chris for being annoyed: it’s both lazy story-telling and bad film-making to make the audience do all the heavy lifting, as Loktev does here. However, I tend to think it occasionally does the brain good to give it a workout, and let’s be honest, the Girls With Guns genre isn’t usually the place to find such an exercise. That doesn’t excuse the maddeningly unfinal ending, however, that is the film’s weakest moment. If Loktev had delivered a genuine conclusion – one way or the other, it doesn’t really matter – she would have been on much firmer ground. Up until then, I was willing to give the film the benefit of the doubt, with Williams providing a surprisingly strong core: excruciatingly polite, yet bent on committing the most awful destruction through her 40-pound backpack [“It’s mostly nails,” says one of the cell, helpfully].

The devil is very much in the details: she clips her toenails and requests a pizza, behaving more like a college girl than someone preparing to carry out mass murder. But would any terrorist group allow its human bomb to wander the streets aimlessly, rather than heading straight for the target? Surely every minute increases the risk of capture and failure? It’s in aspects such as this that the hyper-realistic feel – no incidental music, for example – breaks down, and you are reminded that what you’re watching is just as much cinematic contrivance as 24 or Vantage Point.

Dir: Julia Loktev
Star: Luisa Williams, Josh P. Weinstein

Leila Khaled: Hijacker

  By

★★★
“Terrorist? Freedom fighter? You decide…”

Khaled became internationally famous in 1969, for hijacking a TWA flight from Rome to Athens, diverting it to Damascus, where it was blown up – after everyone had been taken off [this was a kinder, gentler era of terrorism]. She then underwent plastic surgery to conceal her identity, and the following year tried to hijack another plane. However, air marshals shot her colleague and captured Khaled, who was taken into custody in London, only to be released soon afterwards as part of a prisoner exchange. She returned to the Middle East, her sky-piracy career at an end, but became an icon of the Palestinian movement, and remains active in it to this day, despite travel restrictions. The Guardian wrote of Khaled in 2001,

She flamboyantly overcame the patriarchal restrictions of Arab society where women are traditionally subservient to their husbands, by taking an equal fighting role with men, by getting divorced and remarried, having children in her late 30s, and rejecting vanity by having her face reconstructed for her cause… “I no longer think it’s necessary to prove ourselves as women by imitating men,” she says. “I have learned that a woman can be a fighter, a freedom fighter, a political activist, and that she can fall in love, and be loved, she can be married, have children, be a mother.”

A fascinating and complex character, it can’t be said that much of the complexity – both hers, and the entire Middle East situation – comes across in this documentary, less than a hour long. You get a quick romp through her early history, her family’s departure from then-Palestine just after World War II, both hijackings, and then we leap forward to the present day, where she’s a mother and works for a political group. There are some interesting moments, such as where she draws a line between what she did, and the 9/11 hijackings: “I don’t agree with the murders of civilians, no matter where in the world”, and she’s been consistent in expressing that. More probing questions would have been welcome: instead, Makboul – brought up in Sweden by her Palestinian parents – admits to having been basically a fan. She interviews others involved in the hijacks, such as a stewardess and the crew, and follows Khaled on a trip to the Chatila refugee camp in the Lebanon, but the film ends abruptly, just as she asks Khaled about the negative image of Palestinians as terrorists that she helped create.

Overall, it’s a frustrating documentary, raising as many questions as it can be bothered to answer. It only scratches the surface of an icon from whom a line can be drawn to modern-day female ‘martyrs’ such as Wafa Idris, but leaves me eager to learn more: she wrote an autobiography, entitled My People Shall Live, published in 1973, so I may have to try and track that down. She certainly stands alongside Patty Hearst and Ulrike Meinhof in the ‘Hall of Fame’ for female terrorists; having had a song written about her by The Teardrop Explodes merits some extra cool points. But if you’re interested, here’s a probably better – less disjointed, certainly – interview with Khaled, carried out in 2000 by, ironically enough, the magazine Aviation Security. Leila notes the black humour there, saying she’s “looking forward to finding out what you wanted to know from me about the security of aviation…”

Dir: Lina Makboul

Female Suicide Bombers

  By

★★★
“A shallow look at a very complex subject.”

This photograph shows 18-year-old Ayat Ahkras from the Dheisheh refugee camp on the outskirts of the West Bank town of Bethlehem. Ahkras killed herself, two others and injured about 20 people when she detonated her explosives outside a Jerusalem supermarket in March 2002.

Female suicide bombers might perhaps not fit into the generally-perceived definition of “action heroine”, but they have much the same quality of transgressive behaviour – women acting in ways outwith the norm. And, of course, heroism depends on your point of view; one thing this documentary does, is show the cult on the West Bank that surrounds their martyrs. The thin line between “terrorists” and “freedom fighters” is illustrated perfectly by the scene of small children carrying posters of suicide bombers. On the other hand, most of the program skims irritatingly across the surface, not least because host Lisa Ling is a puffcake journalist, uninterested in asking – or perhaps, too scared to ask – the hard questions. Her interview with the mother of Wafa Idris, the first West Bank female martyr, is a masterpiece of shallowness; she doesn’t even bother to follow-up on the answers, let alone challenge the assertions.

Even more annoying is its desire to cram the motivations for all female suicide bombers into the same hypothesis: abused or brainwashed women, who have broken the laws of society, and in particular, religion, so find suicide the only way out. They dig through the histories, looking for evidence to justify their theory: oh, Wafa was infertile and divorced, that must have been it. But this hardly even counts as an explanation: how many women get divorced without committing suicide? It’s actually fairly patronising, the clear implication being that women are incapable of consciously sacrificing their lives for a political or social cause. I think Joan of Arc, Emily Davison (the suffragette who threw herself under the King’s horse at the 1913 Epsom Derby) and Violette Szabo might care to argue with that conclusion.

The film also concentrates the great majority of its efforts on Palestinian bombers; the Tamil Tigers merit only a brief mention, even though they have been using female martyrs for far longer, to a greater extent (almost 40% of their suicide bombers are women) and with greater impact, including the assassination of former Indian Prime Minister Rajiv Ghandi in 1991 – unmentioned by the program, despite it supporting their theory, is the fact that his killer had been raped by Indian soldiers. On the other hand, the Tamil struggle is secular rather than religious, making it hard to apply the same hypothesis of guilt-stricken women opting to go out with a bang. However, I do give the program credit for piqueing my interest in the topic; expect a full article sometime in 2005… [Said article has been delayed indefinitely, as I couldn’t get a good handle on how to approach the topic. I made a lot of notes, then basically gave up. Will maybe dig them out sometime…]

National Geographic Channel documentary, December 2004

The Terrorist

  By

★★★½
“Not your average Bollywood film – some fabulous moments, and some really tedious ones.”

Loosely based on the assassination of Rajiv Ghandi, this focuses on Malli (Dharker), a 19-year old guerilla chosen as a suicide bomber. With flashbacks to earlier events, it covers the journey to the killing zone, where she awaits her target and her destiny.

Right from the start, where she shoots a traitor in the throat, we realise Malli is not your average teenager; she has lost all her family, and has nothing left but the cause. She isn’t the only one – perhaps the most chilling sequence is an ‘interview’ for the position of “thinking bomb”, where the candidates beg for the honour of dying. However, when she leaves the moral certainty of camp, she begins to have doubts. Perhaps there’s more to life than death; it’s hard to destroy yourself when you feel someone would miss you. In particular, the farmer with whom she stays (a charming, voluble performance from Parmeshwaran) embraces this taciturn stranger without qualm and leaves Malli with a dilemma.

A lot of the weight of the film has to be carried by Dharker, who is in almost every frame. She has a definite presence; however, staring at the camera is hardly a stretch. Throughout this, there are frequent moments which make you gasp, but Malli’s silence leaves a huge gap in the film, and there are just too many scenes which are beautifully photographed but otherwise appear pointless. The ending, too, is distinctly unsatisfying on all but a basic level. It does give an understanding of fanatical psychology: post 9/11, that’s an area deserving of coverage.