Seen from afar, the plot of the 2009 film The Messenger, doesn’t seem all that uplifting or enticing. A narrative about two Army casualty notification officers isn’t the kind of film that fills theaters. That being said, don’t let the bleak premise scare you. The Messenger is a gripping, emotional rollercoaster that does more than just ponder death and the implications of war. Fueled by top-notch acting from leads Ben Foster and Woody Harrelson, The Messenger looks deeper into coiled rage, missed opportunities and bonds formed and broken.
Foster jumps off the screen as Sgt. Will Montgomery, an Iraq veteran who saved members of his squad from an IED attack and is still grappling with his injuries. Ordered by his commanding officer to accompany Sgt. Tony Snow (Harrelson) in the Casualty Notification Unit, Richardson does so begrudgingly.
Tony, a seasoned death notification veteran conducts himself with rigidity and adheres to the script, never once wavering. A by-the-book recovering alcoholic, Sgt. Snow attempts to break Montgomery down and throws him into the fire.
Both men find a kinship in their wilting social lives. Montgomery still sleeps with his now-engaged ex-girlfriend (Jena Malone) and Stone gives in to cheap thrills and one night stands. And out of their barren desperation the two men form a bond.
But the partners’ bond is threatened when Montgomery begins getting emotionally involved with a slain soldier’s widow (Samantha Morton). Adding another layer of complexity is the men’s emotional baggage, which includes Montgomery’s PTSD-induced rage and Stone’s remorse over having never seen action. Slowly and gradually the film’s final frames will prove to reveal far more about their character and their bond than the two ever expected.
The film marks the directorial debut of celebrated screenwriter Owen Moverman whose scripts include Jesus’ Son, the Bob Dylan biopic I’m Not There and the Rachel McAdams drama Married Life. Originally slated to be directed by the late Sydney Pollack and later Ben Affleck, the producers eventually gave the project to Moverman himself, and never once does he disappoint. Every frame in the film is precise and pointed.
Though it is most definitely a pacifist film with a heavy anti-war slant, never once is a battle scene depicted. Though it does get a bit talky at times, the film makes some big claims in a way that is gripping and gut-wrenching. Aided by the deft camerawork of cinematographer Bobby Bukowski.
At a recent screening of the film, David Schwartz, chief curator of the Museum of Moving Image in Astoria, Queens, said of Foster’s performance, “If there’s a better lead male performance this year, I have yet to see it.”
Moverman has admitted that the film does not have a big studio push behind it and is relying heavily on word of mouth for its success. With that being said, take this recommendation to the bank and go see this film.
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