
Lord of War--Not

"Lord of War," despite the fact that it fits in a jewel case, is not a movie: it is a message. Writer and director Andrew Niccol pounded that message home with a large hammer, but in so doing seems to have deliberately sacrificed most of the possible ways that a motion picture can draw the viewer into itself.
Start with the narration--a lot of it--by Nicholas Cage, mostly speaking off camera in voice-overs while the action goes on, but sometimes reducing himself to a talking head, staring into the camera, punctuating his lines with a puff on whatever he is smoking at the moment. The quantity and quality of the narration overwhelms the rest of the movie, leaving a great ensemble cast with nothing to do but shuffle on, do the cardboard bits that Cage has just told us to expect, and shuffle off again. Ethan Hawke (Training Day), Bridget Moynahan, Donald Sutherland, and of course Cage himself are all fine performers with much more potential than they are allowed to use.
Eamonn Walker, as Liberian dictator Andre Baptiste, Sr., is perhaps the most entertaining of the subordinate characters. He prefers things his way, and it is his habit of re-casting certain English words into eccentric phrases (e.g., blood-bath into "bath of blood") that gives the film its title, when Baptiste/Walker turns "warlord" into "lord of war." The only thing is that he repeats that gimmick four times--and it has to be explained to the audience, in case anyone missed it. In this manner, potential "nuances" like Walker's quaint speech pattern, Cage's grammatical tobacco inhaling, and also Cage's character's preference for one and only one sexual position, all become not nuances, but simply cliches.
True, Jared Leto achieves an emotional break-through when he has an epiphany during the final stages of negotiating a particularly unsavory arms deal. Niccol does his best, however, to dampen the impact of this by having Cage direct everybody's attention to Leto's character before the key scene is acted out. Hey, watch the kid, everybody!
The transition from nuance to cliche almost makes it to farce if anyone stays around for the closing credits. The viewer by that time has glimpsed--and I mean glimpsed--a shadowy Marine lieutenant colonel played (at) by the talented Donald Sutherland, who must play a mannikin with lots of campaign ribbons. In the credits, his character is identified as "Lieutenant Colonel Oliver SOUTHERN." Chick-a-boom! For viewers too young to remember, LTC Oliver NORTH, USMC, played a key role in the Iran-Contra arms deal scandal under the Reagan Administration. I get it, Andrew, I get it.
The individuals in the cast of "Lord of War" don't have to take a back seat to the equally stellar crew that did "Traffic," but comparison of the conceptual design of those two movies speaks volumes about how, IMO, a global problem can and cannot be treated effectively in a dramatic presentation.
Wikipedia says Amnesty International loved this movie. I'm sure they did. They are pursuing a noble cause and have a right to be pleased when that cause is publicized, but as a dramatic production, this left me totally cold. With the one exception noted--Jared Leto as Vasily Orlov--the characters are what they are from start to finish, with no development allowed inside the Niccol straight-jacket of Cage's narration. Only an NBA ref could endorse Ann Hornaday's Washington Post verdict that this is a "stylish, provocative thriller."
Review ID: 10000000007589179

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