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“A Mighty Heart” is more or less authentically paced,
allowing the audience to experience an emotional reaction
along with the characters. The end result is a straightforward
yet deeply powerful unfolding of events, the likes of which
I haven’t seen since Paul Greengrass’ “United 93.” ***
Taking place in Karachi, Pakistan during the early
months of 2002, the film recreates the real-life plight
of journalist Mariane Pearl as she awaited news on the whereabouts
of her husband, Daniel, also a journalist. While on assignment
for the Wall Street Journal, Daniel Pearl was kidnapped
and eventually executed by supporters of Khalid Sheikh Mohammed,
an Islamic terrorist who at the time was in league with
al-Qaeda. There’s no question that this material is heavy-handed,
and at times, “A Mighty Heart” is difficult to watch. But
it’s also very important. ***
Angelina Jolie gave one of 2007’s most compelling performances
as Mariane Pearl, a woman of incredible strength even in
the midst of worry, uncertainty, and ultimately tragedy.
Watching her, it’s easy to believe that every ounce of her
bravery took tremendous will to muster up. She keeps herself
as calm as she can, rarely allowing herself to break down.
Apparently, breaking down wasn’t an option; she had to concentrate
on getting her husband back. ***
I repeatedly found myself asking: Could I have been
so strong had I been in her place? The effect she has is
poignant and motivational, which, in all likelihood, was
not the intended effect. I have a feeling that the filmmakers
only wanted to present a sequence of events. But it’s virtually
impossible to feel nothing for this woman, not only because
of her husband’s fate, but also because of her pregnancy.
***
As the film progresses, searching for Pearl gets increasingly
chaotic. False leads, unexpected developments, and vague
assumptions wreak havoc on the investigation, resulting
in many sleepless nights and worrisome days. Throughout
the entire period, Mariane stays with Indian-American journalist
Asra Nomani (Archie Panjabi), whose home becomes the nerve
center of the search. Both the Department of Justice and
special agents from the Diplomatic Security Service are
going at full speed, relying on every resource available
for even the smallest of clues. ***
There’s an emotional intensity to these moments that’s
quite effective. This is especially true of Mariane, who
actively calls family, friends, and colleagues for both
help and support. I felt the desperation that the characters
were feeling, and by the time the recording of Daniel Pearl’s
beheading surfaces (which, thankfully, is not shown in full),
we’re emotionally drained. ***
Dan Futterman portrays Pearl in scenes that are just
as brief as they are heartbreaking. The instant he appears
on screen, the reality of his fate hits the audience. He
never reunited with his wife. He never had the chance to
raise or even meet his son, Adam. All anyone can see is
what could have been instead of what was. ***
I honestly don’t know if this was a wise move on the
filmmaker’s part. Showing the love he felt for Mariane is
effective, and we are expectedly sympathetic. But at a certain
point, I began to feel manipulated; sporadic flashback sequences
show their marriage, their honeymoon, and Pearl addressing
Mariane’s growing belly. I’m in no way suggesting that this
film is exploitive. Far from it--it respectfully pays tribute
to Daniel Pearl and it portrays his wife realistically.
I’m just not entirely sure such moments were needed. They
only make his death that much more unbearable. ***
Nonetheless, I’m giving “A Mighty Heart” my top recommendation,
not only because of Jolie’s brilliant performance, but also
because of the humanity running all throughout. Near the
end, Mariane states in an interview that her husband was
not the only one to be murdered in Pakistan. During that
same month, ten other people fell victim to terrorism. Other
families were suffering just as much as she was. ***
During that same interview, she’s asked whether or
not she viewed the recording of her husband’s execution.
“Have you no decency?” she asks in French, followed in English
by, “Why would you ask me that?” Why, indeed. ***
Films like this can so easily go wrong. This had the
potential to be sappy and melodramatic, a meaningless waste
of emotion for both the characters and the audience. Futterman’s
scenes may have been somewhat manipulative, but they were
also restrained from going too far. I give the filmmakers
credit for that. I also give them credit for being straightforward
with the difficult subject matter; dancing around it would
have made the film meaningless. ***
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