DVD Review: United 93

My introduction to United Airlines Flight 93 was in the early hours of September 12, 2001. Not owning a television, I was following the unfurling, hypnotic spectacle on the internet. ('September 11' would later be acknowledged as being the first major international event to have been communicated to the world in real time via the 'net.) I was plugged in to a large number of websites - one of which belonged to United Airlines. At some point during the fiasco, having refreshed their site in my browser, there was a stark, simple message on the company's homepage: "United Airlines regret to announce that we appear to have lost another aircraft." (United Airlines Flight 175, the second plane hijacked, had already been flown into the World Trade Center's South Tower.)

My introduction to the Paul Greengrass film - United 93 - was as a result of the, then, Sydney Film Festival Artistic Director Lynden Barber's decision to include it in his program for the 2006 festival. I was the Events Manager for Barber's final festival (an hypnotic and terrifying ordeal in its own right) and I had taken the opportunity to sneak in and watch this film. About 15 minutes into it, my mobile phone, silently, announced that I was needed somewhere. We had a huge number of Festival Sponsor post-screening functions immediately following the film - and there was the entirely necessary corporate sponsorship banner positioning to be attended to. Almost gratefully, I slid from the theatre. I had missed the beginning and I was going to miss the end ... and until the other night when I saw the film for the first time, I didn't realise just how grateful I should have been.

The post-United 93 screening functions were, as you might imagine, dire affairs. Ghostly white and subdued, corporate Sydney wandered dazed and undone into their little roped-off exclusion zones - truly stunned by what they had witnessed. I had imagined they would be, and had arranged for the lights to be dimmed in the holding pens I had any control over and encouraged the event staff who bothered to listen to be mindful of what our cheque-signers had just witnessed. I adored Lynden Barber's festival ... and especially his inclusion of this film. The State Theatre, where it screened, had just had a new 'rock concert' sound rig installed ... and United 93's momentous and almost impossibly layered soundtrack (Martin Cantwell's Sound Editing and John Powell's Original Score) gave it a paint-and-wall-paper stripping run for its money.

****

One of Greengrass's masterstrokes is the casting. John Frankenheimer (The Manchurian Candidate) once said that "casting is 65 percent of directing", and in the case of United 93 I would, possibly rather magnaminously suggest, that the casting is almost 90 percent of the work's cinematic torque. The flight crew (pilots and cabin attendants) are all played by real crew - some of whom work for United Airlines. On the ground, the Civilian and US Military Air Traffic Controllers are played by real air traffic controllers – and in some cases, the people who were actually working on the morning of September 11. The passengers are played by relative unknowns, and it is this choice that ensures the film demands an immediate and instinctive respect. There is, not at any time, any "Acting" going on. Yes, there is knowledge and technique … there is commitment and passion … but ultimately, it is the anonymity of these actors that powers their presence in this work in precious and commanding ways. Many Directors and Casting Directors choose this casting path to walk – but very few have succeeded in matching the power of the unreservedly adventurous and uncluttered energy with the material that Greengrass manages to inspire in this work and from his brilliant cast.

The editing by Clare Douglas, Richard Pearson and Christopher Rouse is astonishing and entirely worthy of their Oscar™ nomination … even though they lost - inexplicably - to Thelma Schoonmaker's work on Martin Scorsese's chronically over-rated, sentimental favourite The Departed. Greengrass, too, was nominated for the Oscar™ for Best Achievement in Directing, capitulating too, to Mr Scorsese.

I have always been greedy for detail - and Barry Ackroyd's Cinematography re-defines the possibilities of the hand-held camera and strikes the perfect aviation-clinical look throughout the 'inflight' interiors. His colours and tones are bone-bearingly real, and his and Greengrass's camera becomes almost lascivious as it prowls the darkest and most unlikely corners of the entire, unravelling horror. From the chaos on the ground to the habitual inflight prattle, Greengrass is everywhere. He pins each and every minute detail of his formidable narrative to your every breath ... choking you with his drive, intention and pace. His virtuoso camera angles are a lesson in themselves and the camera's battle for stability and equilibrium in the post-hijack cabin of United Airlines Flight 93 is unrelentingly painful. That there is even the slightest semblance of hope for a different denoument is the mark of a truly great storyteller ... and a water-tight and skillful ensemble and crew.

From its simple, eerily familiar and almost routine beginning to the blistering mid-point where the tension can no longer be contained, United 93 is a masterful cinematic ante-mortem examination … and even though forensic investigators have contradicted the popular myth that the passengers managed to make it into the cockpit, the final few minutes of United 93 will connect so brutally with your heart that it may be almost impossible for you to stand it.

It was only through the wide-eyed wonder at what real and raw courage and determination looks like, that I could.

****

Donate to, and view, the Honour Flight 93 National Memorial and buy the DVD.

Image courtesy United 93.

The Struggles

I have a nickname for the last five years of my life. It's 'The Struggles'. I adopted it, in style at least, from a land (the memory of which) lies percolating in my heart and soul - Ireland. The Irish, with their characteristic mastery of understatement, referred to their seemingly interminable conflict with the English as "The Troubles". Sometimes it is the accuracy and economy of understatement that results in the very essence of the issue being pinned to a floating speck of dust ... the kind that is visible only in the brightest, almost paint-strippable ray of light. And as a bomb (courtesy of the IRA) exploded only 100 metres from me in London's Victoria Station in 1990 - I knew we were, indeed in trouble.

I remember my first visit to Ireland vividly. I had met an Irish woman - Annie O'Brien - in London when we were both cast in a season of the Stephen Sondheim musical The Frogs. Annie and I instantly bonded ... and many of my special memories of the time I spent in Europe were as a direct result of our vast and wonderful friendship. It was Annie who rented me a room in her beautiful house in West Ealing ... and when the advertising agency I was working for went bust overnight, she guaranteed a roof over my head until I found another job. It was Annie who raced to The Green near our home in Ealing one fateful morning to help me up from the grass. It was Annie who found the perfect space for a season of another play of mine in London ... and it was Annie's brother who, being an Aer Lingus pilot, flew us from Heathrow to Dublin - with me perched wide-eyed, stunned and amazed in the jump seat!

Upon our arrival in Dublin, we went to Annie's brother's favourite pub for lunch. We sat in a beautiful courtyard and drank Guinness. I realised I was in trouble when I started to notice that people were smiling. Real, genuine almost heart-felt smiles. It made me feel uncomfortable ... and Annie laughed at the increasing level of my discomfort. I remember ordering a chicken sandwich for lunch ... and minutes later, when it appeared in front of me on the table - I promptly burst into tears. There, sitting on a serviette within a small woven basket was a fresh roast chicken sandwich. I touched it gently, and the bread sprung back from the small indent the tips of my fingers had made in it. For the first time in what, at the time, seemed like a lifetime, I was about to eat a fresh roast chicken sandwich ... not the thin, salmonella-prone slices of processed and compressed 'pretend' chicken I had become used to in London - the taste of which was always one of life's little, unsolved mysteries.

Touring Ireland was one of the highlights of my years in Europe. I hope to do it again as soon as possible. Images and experiences of my time there haunt me still. The Hill of Tara, Newgrange, theatre at The Abbey, wandering through the grounds of Dublin University, spotting bullet holes in buildings and ranging far south to the wilds of incomparable coastline ... epic, romantic, sweeping grandeur. A magnificent collision of the elements that can only be written about by people who - possibly innately - understand the power, scope and range of the cultural and historical significance of the perfect meeting of time and place.

****

Last night, in the time and place I occupy for the time being, I finally realised why my life has turned out the way it has. It's because the one I lived prior to the one I am now living was better! Much better! So much fucking better it almost defies description! Almost. You see, in my previous life, I was a Pharaoh! I was! I may very well have been the Pharaoh! How good is that?!

I have to be honest. It's not the first time I've been confronted with this fact. But prior to having this sacred vessel (see?) with which to record my every second rumination, it's only ever been a little-known fact of ... whatever the word is that means the opposite of motivation. Yes, that's it - consolation. When everything I've achieved has eventually ended, I have religiously consoled myself with the knowledge that everything I achieve in this lifetime is intended to be the very anithesis of everything I achieved when - to monstrously wonderful effect - I was The King of Egypt!

Going home

Apparently I have "failed to make an impact on this town". I won't tell you who said this about me because they don't deserve our disdain ... or our contempt. It was, actually and metaphorically, a stab in the dark. But the comment certainly kept me up last night - pondering whether there was, in fact, anything more I could do to secure my footing in Sydney. I'm sure I'll contemplate it continuously (as I have a rather monotonous tendency to do) as I pack my bags, boxes and plastic tubs in preparation for a move back to Melbourne next week. Thank The Universe for my blog. Here, over the coming days (and I am sure, weeks) I will contemplate and consider the move and its implications. A real journal of record. A record at least.

I have always been an independent spirit. I value my independence more than anything and everything else that litters my landscape. Past, present and future. I'm not a loner - I love the company of certain people. Very particular people. JD, DD, JG especially - people who the pathway through the garden of my life has provided for me ... and I hope, us. They are people I want to speak to every day, and they represent the metaphorical anchor in the stormy sea which has been the relationship with myself during my seven years in Sydney. I am looking forward, more than anything else, to having the integrity of real friendship around me again ... to share the language of knowledge through meaningful exchanges - the kind that are only possible because of personal History. Understanding. The 'heart and soul connection' we seek and yearn for all our lives. Where silence sometimes sounds louder than noise.

To some extent, I have "failed to make an impact on this town". But not entirely because of what I have chosen to do (and not do as the case may be), but (principally) rather because of the people I have chosen to try and make an impact with ... and for.

I need to understand the implications of this move - more than I think I realise. I have been encouraged not to return to Melbourne and I respect the tutelage. I have been challenged to consider the (im)possibility of staying here in Sydney. It is not an option. It's a change of perspective I seek. I need. That is my only expectation.

Can you go "back"? Yes, of course you can. Sometimes, you must. I have been "back" many times in my life. For safety. Security. Confidence. Clarity. The last two times I have visited a dear friend's parents' farm in the Hunter Valley, I have taken the wrong turn off the freeway. I was never certain ... it was always dark. I love driving at night. I interview myself on the radio ... I win Oscars® ... I have fascinating opinions about all sorts of things and I interview myself the entire trip. It's the way single people learn about what they're really thinking ... they talk to themselves about it. I was so sure of how fabulously interesting I was, I took the wrong turn. Twice. The road I took led nowhere ... just further into the darkness. No matter how much I tried to convince myself otherwise, I was not going to arrive where I had intended. I had to turn back.

There is a persistent alone-ness about my life in Sydney. A nagging doubt about the quality of my life here. The collection of extreme highs and lows that have punctuated my time here are vast and interesting ... and I will document them here. As I consider each of the culprits, there will only be one rule: no prisoners. If I am going to set myself free from this chronic perception of what the end (and requisite failure to meet certain expectations) of this chapter in my life means, then everyone and everything responsible - including, especially, me - will need to be held to account.

As Bette Davis's Margo Channing famously chimed in All About Eve: "Fasten your seatbelts. It's gonna be a bumpy night!"

Image: Unfinished Business - J D and Flicka, the Fearless Firefly.

Changing places

Melbourne? Sydney? Melbourne? Sydney? Melbourne? Sydney? Melbourne? Sydney?

I have a dilemma. I've just returned from a(nother) weekend in Melbourne where, among other things, I went in search of a new client or two for my communications company. The good news is, I found some. The bad news is, I really need to be Melbourne-based to fully capitalise on the potential they represent. Or is that "good" news?

I missed my blog for two whole days! I made a promise to myself to write something every day, but the business and social demands of a quick trip 'home' prevented me from giving it the attention it deserves. And now I have a choice to make: Melbourne or Sydney?

Anyway, the cute boy jogging in his Speedos is - surprise, surprise - Nick dal Santo from my beloved St Kilda Football Club ... and after Round 4, I'm equal twenty-fifth on gayfooty.com.au's Tipping Competition!

Flights of distraction

I am an aviation junkie. There. I've said it. "Stricken airliners" litter my dreamscape. "Under the flightpath" is a rental property imperative. The unmistakable smell of an airport sets my nerves and senses alight ... and in the days when I used to have a car, I would often spontaneously drive down to Botany Bay, park my car, and walk along the sandy path to my precious 'plane spotting enclosure' - only metres from runway 16R/34L (Kingsford Smith's main north-south runway). And here, I would spend hours and hours happily high on aviation-fuelled distraction.

There is something utterly compelling about the sight of a Boeing 747 powering up the runway, heavy with fuel, cargo, passengers and crew. It is a majestic and awe-inspiring event. Every time. One jaw-dropping thrill after another. O Fortuna invariably sweeps through my internal stereo system as the gigantic conglomeration of man's mastery of aerodynamics, chemistry, science and design thunders down the runway. The front wheels lift off ... and there is that moment where that peculiar little angle of an aircraft's tail suddenly displays its truth of purpose - gliding, only ever a few thrillingly exact few feet it seems, perfectly parallel to the runway. And then the ultimate show of strength and vision ... the conquest of the point of no return ... as the aircraft leaves the ground, heaving itself with laborious thrust and utter determination into the sky. I always hold my breath. The landing gear folds neatly away into the hold. It's better than sex. I have never been known to wish for it to end. And the experience is always punctuated by a little tinge of sadness and regret when the glittering object of my affection - and undivided attention - is but a speck in the distance. Unlike almost every film I've ever seen, I always want to see it again. I was paying attention but I might have missed something of this utterly hypnotic display. Theatre has rarely been this good ... but unlike Theatre, I have absolutely no idea how this happens. It defies my comprehension, each and every single time.

Plane spotting is a fixation - a hobby that, unlike stamp collecting, gives something back. Absolutely. Even just waiting for an airplane to put in an appearance on the tarmac and taxi past us invokes the rare thrill of anticipation ... and I am rarely alone in my cyclone fenced Utopia. People come with their children, cameras, tripods, and ladders ... and if I am really lucky, radios locked on to the Air Traffic Control Tower frequency are clipped to the fence for the intimate, private pleasure of our merry band of worshippers. It's so much fun I'm surprised there's not a law against it. Or a tax. Or, at the very least, an entry fee.

If plane spotting is my addiction, then actually flying is - surely - a fix as close to heaven as I'm ever going to get ... a silent, illicit thrill that triggers an almost unbearable manifestation of fear, apprehension, delight, and wonder. On my most recent flight to Melbourne, I was sitting behind a father and his two very young daughters, one of whom, like me, had managed to secure the First Prize - A Window Seat. Our push back from the terminal was late. Our wait on the tarmac was interminable. The Pilot informed us, wryly, that it was always like this at Kingsford Smith on a Friday night. His voice immediately went through some kind of internal filter I think we all share in some small, but incredibly significant way: does this sound like the voice of a man who knows what he's doing? Am I prepared to trust this man with my life? Have I done the right thing accepting a window seat at the rear of the aircraft? I did have a choice ... 23C (aisle) or 47A (window) ... I can't get Jane Froman out of my head.

We were running late. Our taxi to take-off is a jolly affair ... and fast ... an added treat! I strain in my seat to glimpse behind us.

"Look Daddy!" the little girl in front of me exclaims. "Look at all the other planes behind us!"

I thought the very words I was thinking had inadvertently escaped. Had I really just shouted? Was my delinquent, internal dialogue unable to help itself? I glanced quickly around to make sure no-one was looking at me ... nervously ... the way I'm sure we all do, almost innately these days, to reassure ourselves that our fellow passengers reveal a complete lack of visible 'hijack' or 'random act of sharpened chop-stick wielding terrorism' potential.

Our 737 turns on her heels and settles at the end of the runway.

"Look Daddy!"

Power. A shift ... my new girlfriend gives me a sexy little shimmy ... and here we go into the sequence that always, for me anyway, more than entirely justifies the cost of a seat on a plane. Every last cent.

"Wow! Daddy! We're going so fast!"

For some reason, it's a longer than anticipated race.

"Get up, get up" I urge, soundlessly.

"When are we going to take-off Daddy?

Shut up little girl.

... and then yes! The magical tilt. I can see what it looks like from inside and I know what we look like from outside. My heart sings.

"Oh Daddy! The buildings are so small ... look at the lights! They are so beautiful! They're beautiful Daddy! Look!"

I'm looking. I'm smiling ... fuck it, beaming. And right there in front of me, the very articulation of my own delight. My odious, adult and silenced joy.

We bank to the right ... and I wonder when it happens, this adult imperative to suppress our innermost squeals of joy and wonder. And when do we learn to accept it? When did silent observance become an acceptable form of expression? Who determined that rule? Certainly not, I would suggest, the people who dreamed that a mass of heaving metal could fly.