22 July
There were strong reasons to be afraid that Paul Greengrass would make a movie about the terrible events in Norway on July 22, 2011 since he had a strong predilection for intense, fast-moving cinematic storytelling that makes you feel like you are present there.
This was the day when Anders Behring Breivik bombed a government building at Oslo before going to the heavily armed Utøya Island and killing tens of young people who were attending a summer camp. They left 77 dead bodies and over two hundred injured individuals. If you have watched “United 93,” whether you appreciated it or not, having this same director take you through an accurate recreation of that fateful day is at least very intimidating.
However, Greengrass is more than just the skilled creator of disturbing films. His most outstanding films show him as also being a reflective writer and director who thinks as much about psychological aftermaths of war and violence as they do about how to relate with violent actors and their acts in any kind of cinema in addition to portraying these acts plausibly. And “22 July” is never more gripping and affecting than when it shows us one fearless boy who was shot five times by Breivik but lived through his attack and later decided to confront him in court.
It doesn’t mean that Greengrass’ film is pleasant viewing by any standard whatsoever though. It was shot entirely (but for its actors) in Norway with English spoken throughout; thus, it would have been no surprise if meticulousness were part of the depiction of what happened on behalf of Breivik’s case. The movie uses three different viewpoints which change as time goes by so that we will follow each main story line from start to finish.
In the beginning, we are with Breivik while he prepares his explosives for an attack as a police officer readying himself for work. Thereafter, there occurs another scene on the island of Utøya where parents bring their children to a camp for future leaders. The focus is on the Hanssens, who are dropping off their sons Viljar and Torje.
As it turns out, their mom is running for mayor in their small town far from Oslo. Meanwhile, back in the capital city of Norway, the Prime Minister is preparing to speak before the attendees. Nonetheless, there is change in everyone’s plans as Breivik’s bomb blows apart one of government buildings’ façades in Oslo and then he flees to carry out his shooting spree on an island.
The shocking sight of fleeing children being pursued by relentless Breivik is ghastly. ‘Today you will die,’ he yells at them. “Marxists, liberals, members of the elite.” It’s clear all along that Greengrass doesn’t view this terrible incident as an isolated event despite his grand claims to a wider war for which other right wing extremists called him a bully following Brevik’s capture and trial. However, it would take extremely obtuse people not to draw parallels between what Breivik says and such chants as “You will not replace us.”
However, towards the end of the film “22 July,” in spite of what they may seem to be pleading about themselves, Breivik’s actions are framed as those of a criminal rather than the war battles he insists on.
Once in police custody, Breivik gave the name of a lawyer he preferred and Norwegian Law requires Geir Lippestad or anyone else mentioned in such circumstances’ legal representation obligation even though it becomes obvious over time in this movie that Lippestad is conscientious and thorough but not enthusiastic; he was told that he should withdraw his child from school halfway through prepping the defense case. In so doing, this strand grapples with questions of justice. The Hanssen family thread shows how lives torn apart come back together again though much changed especially Viljar.
Viljar is played by Jonas Strand Gravli and it does not look like his true character has undergone any development despite changes happening on him physically which are quite extensive. When taking off to camp, he was a strapping teenager full of healthiness. He loses one eye, partial use of one arm and has bullet fragments near his brain-stem but yet remains alive after being shot at close range. This also at least temporarily erases his vitality hence literally leaving him empty.
Contrary to Viljar who wants his day in court, Breivik seems to derive pleasure from his own arrogance while trying to outsmart the system and get his forum in court as well; he has used his trial as a means of promoting a grotesque white nationalist agenda. Anders Danielsen interprets the monster in a way that suggests both humanity and also states confidently that Breivik himself has made such humanity irrelevant.
However, Viljar, who is considering whether or not to make a statement during the hearing, is forced to confront not only his shattered body but also the ideas that Brevik attempted to quash.
And this is where Greengrass’ film finds its most satisfying purchase. Nothing triumphalistic for Greengrass then; he does not make Viljar’s courtroom speech a marvel of oration. This is about a film being hard and necessary.
As far as shooting and editing goes Green grass will always be an enquirer and there were one or two moments especially those more quietly pitched scenes showing Viljar struggling alone in which I wished that director had lingered on just one shot for a few seconds longer. But this is how he shoots, owns it somehow and somehow makes it shine into something alive.
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