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Eye In The Sky

01 May

Eye In The Sky – directed by Gavin Hood. Thriller. 102 minutes Color 2016

★★★★

The Story: A little girl selling bread near an important drone target is the focus of the tension between the commander of the drone operation and the young man trained to pull the trigger on the target.

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The story approaches absurdity as one higher-up after another is called upon to okay the pulling of the trigger. It skips over The Queen and would have landed on the crowded desk of God if things had gone on any further.

Why the heck are the Brits in command of a target upon which an American soldier must open fire? This curious distortion of the film holds one subconsciously in check as one watches. Its unposed question seals us in suspense as the surface difficulties regarding the little girl weave the protagonists in a cats cradle of difficulties.

Around the conference table pace and halt Alan Rickman, Jeremy Northam, and ranks of cellphones pulled tight as red-tape strangles everyone.

What makes the film work is the charm of the child on the one hand, which we get in following her day, her family, her tasks. And set against these, two people who never get to know her as we get to know her.

These two are Helen Mirren who, in a parallel line to her Detective-inspector Jane Tennison from Prime Suspect, runs the operation from a War Room and urges the immolation of the child at every turn – every turn turned-down.

The effectiveness of the entire film, however, depends upon the casting of the actor whose job it is to aim the drone and fire it. The film would not work at all without the presence of the particular actor the producers have hired.

Aaron Paul eyes possess the rare capacity to register an internal moral certainty being deeply questioned by the authority of external information coming at him. This was the quality that sustained Breaking Bad throughout its six seasons.

Paul’s ability to do this as an actor places the entire story in our shoes. His presence, the presence of those eyes, is a narrative necessity. And his strength, which the story requires, to sustain this balance, this question, this quandary, and to act upon it is the real story that supplants all the rest.

 
 
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