Reflections on characters and themes in “Sicario” (2015)

 

Reflections on characters and themes in “Sicario”

Directed by Denis Villeneuve

Written by Taylor Sheridan

Starring Emily Blunt, Josh Brolin and Benicio Del Toro

FBI agent Kate Macer, an expert in kidnapping cases, is invited to join a mysterious task force whose objective is to trace leaders of drug cartels in Mexico and to cause maximum disruption to their operations. However, all is not as straightforward as Kate hoped and this leads to a journey of moral exploration and discovery, and conflict with her newfound colleagues.

Fundamentally, “Sicario” presents us with a juxtaposition of law-abiding principle and idealism, disillusioned and determined realism, and ruthless or amoral acts of retribution, showing how one can descend from one to another.  

Kate does everything by the book and is proud of her honesty and dedication to duty. That said, she is willing to accept that her efforts have made barely a dent in the nefarious activities of the Mexican cartels and other drug gangs. Matt Graver, a CIA officer specialising in covert activities, recognises all too well the legal limits, restrictions and confines of confronting these highly organised and ruthless drug gangs and he is willing to push legal boundaries to their limits and beyond in his determination to halt or at least curtail their activities. That said, there are limits that he, as a representative of his government, cannot go beyond and that is where Alejandro Gillick comes in. Alejandro has suffered great personal loss and pain and is more than willing to apply the gangs’ own rules of engagement and standards to them. He takes brutal and merciless action as a private citizen, though with the willing, if necessarily limited, co-operation of Matt and his forces.

Kate is impressed by Matt’s knowledge, determination and purpose, and is persuaded to join him in a venture that is laden with murky secrecy but which promises to be more effective in a few hours than all her efforts to obstruct the flow of drugs into her country over several years. She is thus drawn into a dark and amoral world in which it seems the end justifies the means.

Vaguely reminiscent of the principle behind “The Dirty Dozen”, our film charts the decline of idealistic and principled law enforcers in favour of devoted and perhaps desperate professionals willing to do whatever it takes to damage the cartels’ operations.

We are shown evidence of the cartels’ brutal and ruthless methods used to establish and maintain their position of criminal dominance and Kate, representing the relatively innocent and morally upright audience, is rightfully horrified and disturbed. She may be morally outraged by the actions of her new colleagues but she sees the magnitude and moral dilemma of the problem, and is willing to recognise the progress Matt and his colleagues have made and the effectiveness of their admittedly dubious methods.

Kate is left in no doubt as to the vicious and pitiless methods the gangs will employ to gain the advantage when her trust is shattered by a treacherous would-be lover and when she discovers the reasons for Alejandro’s contempt for and utterly merciless attitude toward his enemy. His wife and daughter were brutally slain as a result of his efforts to legally prosecute the gangs. So, Alejandro was undoubtedly once as idealistic as Kate but his tragic experience in losing his family taught him that principle has little or no value when dealing with people who do not share your values, and who are willing to show no mercy in seeking to assert their will.

As the film progresses, Alejandro becomes the central figure and his actions provide a demonstration of the level of ethically dubious determination and even inhumanity which may be necessary to dent the drug gangs’ activities. It is, quite simply, a matter of tit for tat. Alejandro is willing and able to stoop to their depths to stop them because he has lost everything, including his compassion and moral inhibitions, due to their actions and methods.

Ironically, the gangs’ success is dependent on the humanity of their victims as they react with horror and fear to the gangs’ intimidation and savage actions. In order to combat the gangs’ progress, Alejandro has committed to allaying any vestiges of humanity. The gangs and any willing to support them must be treated in the same way the gangs are willing to treat others and, as Kate discovers, Alejandro is willing to apply his brutal determination and disregard for humanity and compassion to anyone who may hinder his plans for the gangs’ elimination. For him, there is no room for legal or moral squeamishness and, though he is driven by a desire to do “good” and eliminate what he sees as a force of evil, his conduct raises questions about his own soul…

This neo-noir par excellence seems to suggest that man-made rules are great so long as everyone agrees to abide by them but extreme contempt for society’s rules may require extreme solutions – amorality may be called upon to defeat amorality, though a façade of legality and respectability is required to avert general anarchy.

Toward the end of the film, Kate has an opportunity to stop Alejandro but she cannot bring herself to do so. Whether this is due to the strength of her principles or a realisation that her principles serve little purpose in the face of abject amorality is not clear, but she is left to reflect on her outlook on life…

The film ends with a haunting image of a mother watching her son play football with the sound of gunfire in the background – the veneer of social “normality” and fun with the distant reality of the ever-present threat of amoral violence.

This film works because by and large we in the audience will have retained our idealism and as such we are shocked by events and perspectives in the film. We may be represented by Kate and we, as well as Kate, have our eyes opened to relentlessly escalating and violent issues, and their potential solutions that are equally unremitting and ferocious. This erosion or undermining of the veneer of respectability and propriety in society is explored in different ways in two of Taylor Sheridan’s other works, “Hell or High Water” and “Wind River”.

I have to say I was somewhat disappointed by the sequel, perhaps because the brutality was not offset or balanced by the idealistic approach we had in Kate. It became a matter of just how brutal things can become and there was little or no shock value or conflict as principle and idealism have been eradicated and replaced by similar but opposing factions of violence and amorality.

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

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An appreciation of Steve McQueen and a selection of his films

 

An appreciation of Steve McQueen and a selection of his films

Why do I like Steve McQueen and his films?

Maybe the answer lies in the type of character he tended to play.

He was inclined to play an individual in conflict with society or perhaps even himself – a “small” guy who was imperfect but tried his best, and who showed determination and intelligence, qualities accessible to us all. His characters show integrity, are down to earth and are unimpressed by position or wealth. Often regarded as something of a loner, his characters are sociable without being needy, and remain quite independent. In short, he mostly played very human characters who may be flawed but did their best while remaining true to themselves, and thus appealed to the best in all of us.

Is it simply McQueen’s acting?

Although he played a considerable range of roles and they all had various qualities in common (see above), they all benefitted from McQueen’s acting style. Very natural and “spare” (I believe he was actually criticised for how naturally he performed), McQueen had a tremendously expressive face and managed to convey meaning and reveal feelings with a slight facial movement rather than repeat several lines of dialogue to produce the same effect (or less). He also managed to imbue each performance with complexity, sympathy, understanding and humanity. This, combined with an underlying humour, created empathy and warmth among the audience who were drawn to him because they could recognise reactions and, more importantly, they liked him because of his character’s authenticity, sincerity and vulnerability.

For all the reasons given above, I consider him one of the best screen actors, if not THE best of them all.

My favourite Steve McQueen films

Naturally, this is a very personal choice which will reflect my own interests and character, but I hope you will find my thoughts and comments of interest.

Although he had relatively small roles in “The Magnificent Seven” and “The Great Escape”, he made a huge impact, especially in “The Great Escape”, and he tends to dominate his scenes in each film. He did much to make each part considerably more than was scripted and came to embody the spirit of each of these films, especially “The Great Escape” in which McQueen took on iconic status as Hilts, the “cooler king”, who came to represent the resilience and spirit of the would-be escapees. Limited though they were, these roles give a taster of some of the brilliance to come.

“The Cincinnati Kid” is undoubtedly one of my favourite McQueen films.

Set during the great depression, this is an existential poker-based drama about luck, following fortune and pursuing fate by way of the talents given to us. It is about confidence, doubt, fear, greed and the path to success.

Eric (the “kid” of the title) is sure of himself – he has “something” and he has talent, but is he equal to the recognised (but ageing) master, “the man”, Lancey Howard (Edward G. Robinson)?

Lancey has devoted his life to winning, and he is about to give young pretender Eric a valuable life lesson that success, or winning, is about more than confidence and talent, and can be influenced by doubt and personal factors outside the game itself. Indeed, “making it” is as much about attitude, determination, principles and sacrifice outside the game as it is about skill within the game.

In the end, Eric is defeated and it appears this defeat has shattered his confidence – he may have lost that “something” when he realised he could be defeated. However, the experience also allows him to see what is important in life and to gain some perspective, even if this is brought about only by losing.

This is the perfect role for Steve McQueen – an intimate drama with an appealing, flawed, human and sympathetic principal character – we feel his pain when he loses to Lancey, yet we are pleased to see there is more to him than just being “the man”.

Success in any walk of life means determination and sacrifice – maybe Eric has learned that sometimes the life of a “loser” has greater value than that of a “winner”.

 

"The Sand Pebbles" has been one of my favourite films since I first saw it on television in 1976. It is set in 1926 in revolution-torn China, when the crew of an American gunboat, the San Pablo, is called upon to rescue some American missionaries working far up the Yang Tse river.

The widescreen version does justice not just to the sweeping panoramas of the quite breathtaking Chinese scenery, but also to the sweeping events and themes of the story. It is in every way a "big" film, dealing with political and military intervention (clear parallels with Vietnam at the time of release), nationalism, racism, and the horrors of war. Yet for all its heavy themes, it is most successful in the depiction of its very human characters.

These characters are not just the means of conveying the "messages" of the film, or fodder for the gripping and well-staged action scenes. They are individuals in their own right, involved in something far greater than their own destinies. Some are unpleasant and ignorant while others are honourable but lost in the sea of historic events surrounding them. Some, like Jake Holman (Steve McQueen), demand sympathy and respect as they struggle to come to terms with their personal challenges brought to the fore by these historically significant and politically dangerous events.

Robert Wise's direction is strong and emotionally charged, complemented perfectly by Jerry Goldsmith's wonderfully haunting and ominous music. Steve McQueen gives what was probably the performance of his career (receiving his only Academy Award nomination), and he is supported by a wonderful cast including Richard Attenborough, Richard Crenna, Candice Bergen (aged just 19), and especially Mako. But it is really McQueen's film. His very presence lifts scenes and he manages to convey authenticity and gain the sympathy of the viewer with consummate ease. Once again, McQueen has gone for a character at odds with society but who remains true to himself and his friends to the point of self-sacrifice.

 

“Bullitt” was a huge success for McQueen and still has a considerable following today. Once again, the theme of conflict with society or superiors is highlighted as Lieutenant Bullitt investigates the murder of a witness (while under his protection) due to give testimony at a high-profile trial. All is not as it seems, however, as Bullitt comes under pressure from a self-serving politician who is willing to use Bullitt as a scapegoat for his own failures.

It was perhaps particularly with this film that McQueen gained the reputation for being the “king of cool”. Bullitt remains cool, calm and professional throughout, to the point where, at the end of the film, he may be wondering about his own humanity.

McQueen gives a very controlled, clever, performance playing a consummate professional who never loses his cool and who is persistent in the face of personal and professional threats. Bullitt might even appear rather cold and calculating, but McQueen hints at a humanity and vulnerability not immediately obvious in the script, creating a more engaging character than would otherwise have been the case.

Well known for its action sequences, the film also boasts McQueen’s performance, and that of Robert Vaughn who is wonderfully oily and manipulative opposite McQueen’s straight and principled Bullitt.

 

“The Thomas Crown Affair” is a morally challenging and emotionally manipulative piece. Thomas Crown should, by rights, be a fairly unpleasant and unlikeable character, yet McQueen makes him human and attractive. Of course, this is helped by the entire premise of the film whereby the traditional values of right and wrong in terms of theft are challenged – the “jobs” are organised as if in a game. Crown sees each “job” or theft as a challenge to “the system”, to see if he can overcome the substantial measures taken by various banks to protect their money. He feels that no harm is done as banks are compensated by insurance companies who make vast profits anyway. Actually, he would probably have fitted perfectly in today’s markets, and might even have added a little colour!

It is about winning, a challenge, and beating the system in a world where money is simply the means of proving your intellectual superiority. It is another potentially cold and unpleasant role, but McQueen makes it all seem relatively acceptable and human, especially in his romantic dalliance with the insurance investigator. However, is his relationship genuine, or is this all part of his plan?

Dated in places and on dangerous ground as you really end up rooting for no-one, this is a beautiful and playful existential exercise in challenging morality which only works because McQueen charms you into being on his side, until, perhaps, the last few seconds where he makes us doubt our previous judgement of him. Much darker and more thought-provoking than the admittedly entertaining remake.

 

“Junior Bonner” was McQueen’s least successful film until “An Enemy of the People”. However, it is also one of his most touching and poetic films.

Continuing the theme of conflict with the world around him, we have a new development – being out of kilter with the world, not really understanding (or approving of) developments taking place in society, and trying to find a place in modern life – a place where character and values appear to be replaced with money and “success”.

Increasingly out of place, Junior Bonner returns home to find his home town changing while he and his father (and the values they represent) are left behind.

Lacking pace, energy and much of a plot, this is nonetheless an excellent vehicle for McQueen, and a pleasant lament for a dehumanised world in which business and “success” have become the focus of society, a society Junior Bonner finds hard to accept.

 

“Papillon” is a hymn to determination and self-belief. This is the story of Henri Charrière, condemned to life imprisonment in the penal colony of French Guyana for a crime he maintained he did not commit, his experiences, survival and escape from that penal colony.

Part history lesson, part social commentary and part drama and adventure, McQueen brings Charrière to life, showing us his determination, his suffering, hope, depression, elation, but most of all the strength of his spirit as he faces countless challenges.

Once again, humanity pervades his performance which appears calmly simple opposite Dustin Hoffman as the ever more desperate and nervous Louis. Unlikely to appeal to all, this is nevertheless a powerful and tremendously touching performance.

 

“Tom Horn” is not, sadly, the film it was meant to be or could have been. A bigger beginning was foreseen to introduce Tom Horn and establish his past and character. Presumably lack of money meant the introduction was dropped and I think this hurt the film as we only ever really hear about Horn’s reputation rather than see and understand his true standing in the West.

That said, it remains a most engaging film and the role of Tom Horn fits perfectly the type of role McQueen liked to play – a professional who doesn’t see eye to eye with society or his “superiors”, but who may be used for society’s or his superiors’ benefit, and usually to his own disadvantage. Again, political ambition rears its ugly head as Horn’s actions threaten the aspirations of his employers, to which he himself will fall victim.

Refusing to buckle to their threats, Horn faces trial for a murder he claimed he did not commit, but is found guilty – another example of traditional values being out of kilter with “modern” society focused on profit and political ambition.

While hardly uplifting, this is nonetheless a solid and worthwhile film which tells its story simply and clearly – and would likely have gained the approval of Tom Horn himself.

McQueen’s performance is entirely natural and appears effortless. However, closer examination reveals considerable variety and colour within the confines of this naturally quiet and principled hero of the frontier. There is much more going on than a first viewing might suggest.

 

“The Hunter” was McQueen’s last film, and he knew it. Already quite ill with cancer when he made “Tom Horn”, McQueen was apparently breathless after takes when making this film. As a testament to his courage and determination alone, this film bears watching, but McQueen also managed to imbue his performance with vigour and humour – something largely missing from his last few performances, and which he undoubtedly wanted to revisit in what would be his last outing.

Here he has come full circle, repeating his role as a bounty hunter (“Wanted Dead or Alive”) in this relatively small, undemanding but entertaining and fairly personal film.

The theme of not fitting is once again revisited, though this time largely due to age and fear of change. The characters and episodic style of the piece are familiar and are clearly meant to be treated as light entertainment, though light comedy is mixed with some more serious points.

McQueen gives a very good and relaxed performance which contains all his usual elements, though more focused on comedy this time. There may even be references to previous roles – the theme of taking on responsibility and accepting change, the card game in his home in which he refuses to participate, and of course the frequent jokes about driving. This really was a personal McQueen film and there would have been no film without McQueen.

I also found the final scene (laced with comedy) very touching, as he holds his baby who sneezes and he says “God bless you” – he might just as well be passing the message on to his many fans and the younger generation as a whole.

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

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