Review of Blood Diamond (2006) by Cameron J — 23 May 2014

"Blood diamond, that's what I call it, 'cause diamond for blood ain't no fair exchange." Yeah, yeah, Jon Bon Jovi, that's great and all, but diamonds, rather than money, might be a little more worthy of blood, although the blood of a village might be a little extreme. Man, Africa can't catch a break, which is probably why Leonardo DiCaprio's South African accent is so good and seems so experienced, as DiCaprio can't quite catch a break with the Oscars. ...Yes, I'm sorry, I know that I just likened rich white people problems to the problems of Africans caught in Civil War, but then again, it kind of fits, because Edward Zwick seems to think that it's his job to be a white guy who focuses on black people problems during wars. I don't know if that really is a thing with him, but "Glory", "Courage Under Fire" and this film seem to be the only ones of his that people really like, and by people, I mean critics. Less jaded commercial moviegoers still keep latching on towards "Legends of the Fall" and "The Last Samurai", although the critics probably wouldn't have liked "Glory", "Courage Under Fire" and this film so well if they weren't liberals... or if the films weren't good to begin with. Shoot, I don't know about the other films in question, but I'm mighty fond of this particular film, even if it, for all its particularly notable strengths, is a touch too familiar for its own good.

The film has plenty of issues, and one of the biggest is its being, plain and simple, unoriginal, being a particularly sharp interpretation of conventional subject matter, but nonetheless hopelessly derivative in a manner that feels lazy in storytelling. A sense of laziness to storytelling is, of course, exacerbated by dramatic messiness, some of which is glaring, with stereotypical and, in a lot of ways, thinly layered characterization, as well as melodramatics that all but defile the genuineness of a valuable dramatic narrative concept with certain conflicts that feel rather manufactured. These overwrought dramatics, in addition to dialogue that is sometimes too clever to be buyable, and may even be fall-flat reflect subtlety issues within Charles Leavitt's script, which is not the only major storytelling element that goes plagued by subtlety issues, because no matter how particularly inspired Edward Zwick is with his directorial performance here, there are times in which he is annoyingly heavy-handed, typically to the point of producing a kind of noisy freneticism, until the dramatic material comes into play, sentimentally shoved down your throat, and becoming a little more sentimental the more dramatic "depth" thickens with plot. It ultimately comes down to a pretty awkward final act that, despite resonance which satisfies quite a bit, gets to be so over-climactic with its wrapping up of certain scenarios that there are a number of occasions in which I felt the film had reached its overblown conclusion, leaving the actual sudden conclusion to feel kind of defused, although it's not as Zwick can be totally blamed for all of the feeling of bloating in storytelling. It ultimately comes back to Leavitt's script, which is not only dramatically overblown, but structurally overblown, putting the runtime of almost two-and-a-half hours to plenty of good use by incorporating a tight thoughtfulness that goes a long way in making the final product so dramatically engrossing, until getting excessive with material that begets anything from a sense of repetition to an unevenness in focus, and even a sense of aimlessness. The film is very much about constantly flowing adventure and tension, and while the final product doesn't quite lose so much momentum that high reward value is itself lost, things do kind of wear down on you after a while, making it all the harder to ignore the familiarity, melodrama, subtlety issues and pacing problems that threaten the drama's potential. However, almost by some miracle, the film comes close enough to achieving its potential that it proves to be thoroughly rewarding, through a competence that is even reflected pretty nicely in some of the more artistic elements of the film.

While itself formulaic, James Newton Howard's score is not trite in a manner that feels lazy like certain other conventional aspects in this film, compensating with a beautiful fusion of an African flavor with Howard's trademark subtle sweep, making for a grand score that attracts more than cinematography by Eduardo Serra which still does plenty of crisp justice to the distinguished environment portrayed in this adventurous affair. Really, not visual style, but the visuals themselves do a lot to define this film, which is heavily reliant on a sense of adventure that is done great justice by gritty, beautiful, dynamic and all around immersive locations, to where an entertainment value is established so firm that it all but alone makes the final product so engrossing. I suppose Edward Zwick deserves some credit for this entertainment value, what with his colorful plays on visuals, accompanied by colorful plays on Steven Rosenblum's snappy editing and even on some solid, tensely well-staged action sequences, which is made so tense partly through a sense of consequence that does not end with the action sequences, for no matter how heavy-handed Zwick is with his dramatic storytelling, when he gets a grip on what he's doing, he ought to grip viewers very firmly. Sweeping, tense and even moving, Zwick's directorial storytelling, when inspired, goes a long way in making a fun adventure film and piercing dramatic thriller, the potential for which is even rocky in concept, what with the familiarity and heavy-handedness. Of course, it's the still very strong execution of the film's story concept that is riddled with shortcomings more, as this subject matter, with its commentary on greed and warfare behind a sweeping study on political and human conflicts, is valuable, brought to generally worthy life, not just by Zwick, but by Charles Leavitt, whose script is hopelessly Hollywood, but genuine enough in its wit and extensive characterization to intrigue with fluff and heart. Such a heart is, of course, kept pumping predominantly by performances that most transcend Hollywood superficialities, whether they be courtesy of the charming Jennifer Connelly and the effectively antagonistic Arnold Vosloo, or courtesy of a gripping lead cast, through which Djimon Honsou carries the show with an intense portrayal of a man who must go to get lengths and through great dangers to secure his and his loved one's safety, and through which Leonardo DiCaprio, of course, steals the show, not just with an impeccable South African accent, but with an equally impeccable charisma which sells the Danny Archer character's presence as a clever man of sleazy business, with depths of human scarring and brutality that makes a truly unpredictable, almost iconically effective lead. DiCaprio has only so much to do, but just as he has in many other dramas, he truly makes this film, and yet, no matter how much he and Honsou carry this film, the combined efforts of Leavitt and Zwick ultimately prove to be enough for the final product to overcome its Hollywood superficialities and other dramatic bloatings and stand, not simply as rewarding, but as strong.

Once the adventure has come to its conclusion, it's hard to deny that serious conventions, histrionics, directorial subtlety issues and a certain aimless dragging to storytelling hold the final product back a bit, but barely, as there is enough compensation for shortcomings through beautiful score work, sweeping locations, worthy subject matter, generally sharp writing, frequently inspired direction and consistently strong performances - particularly those of the powerful Djimon Honsou and the enthralling Leonardo DiCaprio - that secure Edward Zwick's "Blood Diamond" as a gripping portrait on political and human unrest in the greedy and gritty heart of Africa.

3.25/5 - Strong.