Well-made films at times might be based on the ideas that are increasingly difficult to reconcile with real life. One such example might be found in *Under Fire*, 1983 war drama directed by Roger Spottiswoode, a film that tries to maintain Hollywood myth of journalists being led by ethics and having more influence on world’s affair than in real life.
The film begins in 1979 Chad, during one of many civil wars that served as proxy conflicts between USA and Soviet Union during Cold War. Protagonists are three journalists that were covering it – talented photographer Russell Price (played by Nick Nolte), middle-aged television reporter Alex Grazier (played by Gene Hackman) and Claire (played by Joanna Cassidy), female radio reporter with whom both men had romantic relationship. Alex decides that he had enough field work and decides to take the prestigious job of broadcast news anchor in New York, while Russell and Claire go to cover new conflict in Nicaragua. Central American country was for nearly half a century ruled by Somoza family, which includes current president Anastasio Somoza (played by René Enriquez). His greed, corruption, incompetence and tyrannical methods of rule has led most of the country, even Catholic priests, to begin supporting left-wing revolutionaries known as Sandinistas. The only support remaining for Somoza is his well-armed and brutal National Guard, as well as various mercenaries, spies and shady characters that represent American and other Western interests. One of them is Marcel Jazy (played by Jean-Louis Trintignant), French “businessman” who serves as Somoza’s spymaster and close advisor. Russell and Claire befriend him, but they are more intrigued by Sandinistas and their charismatic and mysterious leader Rafael (played by Jorge Zepeda). Russell has tried to set photo session with Rafael and when Sandinistas finally agree, it turns out that Rafael was killed by Somoza’s troops in the ambush. Russell is asked to stage photograph in order to make Rafael look alive and thus allow Sandinistas to maintain high morale in critical stage of the conflict. Russell, who began to sympathise with the rebels, reluctantly agrees to stray from journalistic ethic and accept their plea, not knowing that such action would lead to tragic consequences when Alex comes from New York in order to interview Rafael.
Made with relatively high budget, mostly on location in Mexican state of Chiapas (that would, ironically, be location of another leftist uprising led by mysterious charismatic figure in 1990s), *Under Fire* is somewhat obscure film which nevertheless represents one of better, if not the best, title in long and diverse filmography of Canadian director Roger Spottiswoode. Script by Clayton Frohman and Ron Shelton is an interesting mix of political drama, war adventure and romance and Spottiswoode for the most part manages to keep the proper balance between those three ingredients. Spectacular action scenes, including those featuring M5 Stuart light tanks, are well embedded into the scenes of exposition necessary for the audience to get familiar with history and politics of late 1970s Nicaragua. The acting is superb, with Nick Nolte in his prime playing very realistic character of journalist torn between searching fame and doing the right thing. Gene Hackman is also good in the role of television reporter who remains good friend of Russell despite romantic rivalry and gets angry at him solely for his questionable act that might put other journalists in danger. Joanna Cassidy is also effective in the role of female reporter that is equal to her male colleagues, but she lacks chemistry with Nolte and the romantic subplot seems somewhat unnecessary and makes *Under Fire* overlong. Famous French actor Jean-Louis Trintignant is interesting in his first major Hollywood role, while Ed Harris as amoral and cynical mercenary provides good counterpoint to idealistic protagonist. Always dependable Jerry Goldsmith provides unusual music score that combines electronic music and Latin American motives.
*Under Fire* failed at the box office, which could be partially explained by its depiction of recent Nicaraguan history being at odds by increasingly anti-Communist and right-wing sentiments of Reagan’s America. Film makers, just like the protagonists, appear not to hide their sympathies towards Sandinistas, which were seen as Soviet allies and, as such, mortal enemies of America by US government, media and most of population in 1980s. However, regardless of politics of its makers, *Under Fire* very realistically and convincingly portrays brutal and chaotic nature of civil war and plenty of innocent people caught in the crossfire. Some of the content in the script was based or inspired by real events, including murder of American television reporter Bill Stewart by Somoza’s National Guard, which was, just like in the film, caught on camera and forced US administration to abandon its ally. In other segments this film strays into fiction, which includes charismatic larger-than-life character of Rafael, which was supposed to be for Nicaragua what Fidel Castro and Che Guevara were for Cuba. Script, on the other hand, depicts Russell as the most decisive person whose action prove to be decisive for the outcome of the conflict. In reality, single man, especially a stranger, is very rarely able to decide the fate of entire country. It is even rarer to imagine, especially at this age, that such person would be journalist. Viewers who are willing to disregard this concession to fiction would, on the other hand, enjoy in film that could be described as thinking man’s Hollywood epic.
RATING: 7/10 (++)
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