ScreenFish

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war

1982 – Love and War

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Oualid Mouaness’s 1982 is a story about fear and courage, love and war, innocence and maturity. The film is Lebanon’s official submission for Best International Film consideration.

For fifth grade student Wissam (Mohamad Dalli) the end of year exams aren’t a problem; he’s a top student. What he is worried about is if he will be able to tell classmate Joanna that he loves her. He doesn’t understand the import of what is going on in the world—that Israel has invaded his country.

His teacher, Yasmine (Nadine Labaki) is fully aware of the dangerous times. Her brother is going south to fight with the Christian militia. She has an ailing father. She is in the middle of the political conflict that is represented by her brother on one side and her fellow teacher and boyfriend on the other. As the school day goes on, the contrails and sound of planes are a constant reminder of what’s happening. In time the sound of explosions rumble in the distance, then nearer. Plumes of smoke rise out of Beirut where the students live. Dogfights happen in the sky above.

The story moves back and forth between Wassim’s attempts to get the courage to talk to Joanna and the adults in the story trying to deal with their own worries and at the same time keep calm in the classrooms. It makes for a useful contrast between the innocence of childhood and the dangers and troubles of the adult world. But in time, the film wants us to understand that relationships—and love—are a key to being resilient in the times of trouble.

The childhood storyline is really the more compelling one. As he talks with his friend about his desire to make himself known to Joanna, and Joanna talks to her friend about who could have left the anonymous note in her locker, the sense of the power of childhood love is very clear. It is at once both scary and something we crave. It is a reminder that even in the midst of terrible and fearful events love has the power to transform us. It has the power to save us. For Wassim, we see that power come forth in the end with a bit of magical realism to save not just his love for Joanna, but his city.

The film triggers in me a touch of a contrast between scriptures. The Apostle Paul wrote, “When I was a child, I spoke as a child, I thought as a child, and I reasoned as a child; when I became an adult, I put an end to childish ways.” That thought fits well with the adults in this story as they must deal with the realities of the war drawing close. But there is also the story, “[Jesus] called a child, whom he put among them, and said, ‘Truly I tell you, unless you change and become like children, you will never enter the kingdom of heaven.”  1982 captures both of those perspectives. And it calls us live in the light of both.

1982 is available on VOD and via virtual cinema through local arthouses.

Photos courtesy of Utopia.

The Outpost: ‘If We Survive, We Win.’

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Directed by Rod Lurie (The Contender), The Outpost tells the story of Bravo Troop 3-61 CAV, a small unit of U.S. soldiers left alone at the remote Combat Outpost Keating, who are tasked with helping maintain the peace and build relationships with the locals. Trapped at the bottom of a deep valley between three mountains in Afghanistan, the division sits exposed and faces daily attacks from insurgents. Then, when an overwhelming force of Taliban fighters attacks them, the unit finds themselves faced with the impossible task of defending their station and staying alive. 

Based on the true story of The Battle of Kamdesh, The Outpost is a visceral and intense experience that feels like an authentic look at the brutality and senselessness of war. A master of the handicam shot, veteran cinematographer Lorenzo Senatore has created battle sequences so intense and lifelike that they refuse to allow you to look away from the screen. Long takes that follow soldiers as carry their wounded across the seemingly endless showers of gunfire that surround them feel endlessly stressful, despite their actual brevity. Featuring solid performances, especially standout Scott Eastwood, Lurie’s film gives time to every member of the throughout the film. Although the film offers little in the way of backstory for its characters, the decision to do so is deliberate as The Outpost focuses its narrative on this particular moment in their lives.

In a unique structural choice, The Outpost is split between two narrative pieces. While the first half feels like a series of narrative ‘events’ over a period of months and years, Lurie’s final battle extends over the rest of the film. In doing so, Lurie builds the tension in a way that recognizes the importance of each moment within military altercations. Though battle scenes in other films can feel simply too long or over-choreographed, Outpost uses its time to remind the viewer that death stands above them at any moment. (This idea is also emphasized through high overhead shots that highlight the unit’s increasingly feeble hopes for survival.)

The interesting thing about Outpost is that, even though every character is named, eventually they begin to blur together. Almost all of them similar age and ethnicity, you could be forgiven if identifying them becomes murkier, especially when they’re covered in gear in the midst of a firefight. In this way, Outpost has a ‘next man up’ mentality in their approach that emphasizes the need to make use of whomever may be available. (In fact, the narrative is even framed through the lens of an endless parade of commanding officers that come through the unit for various reasons.) However, this is not to suggest that anyone’s life is unimportant in any way. Rather, Outpost serves as a reminder that, in the most dangerous of scenarios, everyone must work as one seamless unit in order to survive.

And survival is the only goal.

While many other war films focus on the overall ‘mission’, Outpost states on several occasions that their sole objective is to survive their assignment. Sent to watch over an impossible location, the soldiers of Outpost Keating have lost any sense of their mission and are simply trying to live until their assignment is over. Though the film absolutely highlights the bravery of the men who sacrifice their lives on the front lines, these soldiers also understand that their assignment is a battle that can never be won. Instead, for these men, if they ‘all stay alive…, [they] win’. 

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It’s this level of futility that drives the unit and speaks to the overall senselessness of the mission itself. One example of the film’s point of view comes when one soldier questions his commanding officer on the fact that neither the Qur’an nor the Bible should be used to validate military action. When is commander argues that both sides ‘can’t be right’, his responds that ‘but we can both be wrong.’ In moments such as these, Outpost recognizes that these aspects of war are misguided and cause unnecessary sacrifices of human life in the end. 

Ferocious and unrelenting, The Outpost is not for the faint of heart. Known as the bloodiest American engagement of the Afghanistan War, the film’s portrayal of The Battle of Kamdesh wants the viewer to feel as though they’ve lived through the moment themselves. However, the value of Lurie’s film lies not in its graphic violence but in its message. At The Outpost, the sacrifice of these men is great but seems unnecessary overall. Though the characters are many, each life matters in The Outpost. 

For Lurie, it’s the mission that remains in question.

For audio of our interview with director Rod Lurie, click here.

The Outpost makes its stand on VOD on July 21st, 2020.

For Sama – Oscar-Nominated Love Letter

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Nominated for Best Documentary Feature, For Sama brings a personal perspective to the Syrian conflict. The conflict in Syria has been fertile ground for documentary films. Two years ago The Last Men in Aleppo was among the doc nominees. This year The Cave is also nominated in this category. The war going on in that nation is a story of human suffering that needs to be brought to our comfortable lives. For Sama was shown on PBS Frontline, and is now available to stream on PBS.org, Amazon Prime, and YouTube.

Filmmaker Waad Al-Kateab (who shares directing credit with Edward Watts) chronicles five years in her life from the beginning of the revolution against the Assad regime. Hopes were high in those early days, but the regime (with Russian support) soon cracked down. In time the city of Aleppo was under siege, being bombed daily. As the siege gets worse, Al-Kateab films the life people were forced to live, as well as the injury and death that was all around. Much of what she filmed takes place within a hospital trying to do the best it could in such dire circumstances.

But it is not just the story of what was going on in Aleppo, it is also Al-Kateab’s story—including falling in love, getting married, and becoming a mother in the midst of this war. That personal story is highlighted by the fact that she designs the film as a love letter to her baby daughter, Sama. In many ways it is an apologia for the choices she and others have made and for the life that they have subjected Sama to.

As we overhear Al-Kateab explain this war to Sama, it gives us insight into those who have chosen to stay in their home rather that become refugees. The hardships and danger that fill the city are all that Sama has known in her few years. Was it right to have brought a child into this kind of life? That is part of what Al-Kateab ponders as she shares the story with her daughter—and with the world.

But a key part of what she shows us is not only the hardships they deal with, but the human need to which they have dedicated themselves to deal with. This is a film with lots of pain, anguish, death, and destruction. But it is also a film that shows triumphs in the midst of all this. But more than anything else, this is a film about caring—caring for family, caring for neighbors, caring for humanity. The love letter that Al-Kateab creates for her daughter teaches us all about the deep meaning love can have in the midst of suffering.

2020 So Far: Iran, Church Shooting, Star Wars, Golden Globes

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your sunday drive

Your Sunday Drive Podcast Season 2, Episode 1.

In our first episode of 2020, we briefly refocus the goal of this podcast: seeking ways to approach current culture in a Christian/biblical way. We then ask “what’s happening so far in 2020?,” covering topics from the conflict with Iran and another recent church shooting, to some reflections on Star Wars and the Golden Globes fallout.

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive

M*A*S*H – Showing the Folly of the Times

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“This isn’t a hospital; it’s an insane asylum!”

I was in college, of prime draft age, when M*A*S*H hit the theaters in 1970. That probably says a lot about what I found so appealing about that film when I first saw it. It also explains why when it played at AFI Fest as part of a Robert Altman retrospective that I felt compelled to see it again and compare it to that first encounter.

The film was somewhat eclipsed by the TV series starring Alan Alda. And it is good to keep the two versions separate. The film version has an entirely different cast (except for Gary Burghoff who played “Radar” O’Reilly in both versions) and a very different tone and outlook than the more lighthearted (though often very poignant) TV series. The film is often described as antiwar (especially since it came out in the midst of the Vietnam War), but it really says less about war per se than about the iconoclasm of that particular time in American history. Even though the film is set in the Korean War, it was almost a given that viewers would read this as commentary on Vietnam.

The film synopsizes itself in a PA announcement at the end of the film:

Attention. Tonight’s movie has been “M*A*S*H.” Follow the zany antics of our combat surgeons as they cut and stitch their way along the front lines, operating as bombs — operating as bombs and bullets burst around them; snatching laughs and love between amputations and penicillin. Follow Hawkeye, Trapper, Duke, Dago Red, Painless, Radar, Hot Lips, Dish and Staff Sergeant Vollmer as they put our boys back together again.

Altman often put together ensembles that were more about the collected talent than any one person being the star. That is certainly true in M*A*S*H. The cast included Donald Sutherland (Hawkeye), Elliot Gould (Trapper John), Tom Skerritt (Duke), Robert Duvall (Frank Burns), Sally Kellerman (“Hot Lips” Houlihan), John Schuck (“Painless” Waldowski), Rene Auberjonoir (Father Mulcahy, aka Dago Red), and many others.

I think what made this film so appealing to a 19-year-old college student was the utter disdain the film had for all institutions. Altman had a reputation for being a maverick or subversive in his films. The military was the main butt of jokes in the film. The doctors were all draftees. All of the regular army officers were pompous and out of touch. They were more concerned with regulations than saving lives. Those who try to do things the Army way are constantly made to look foolish and impotent. At a time when many in this country were becoming increasingly anti-military in response to the war, that resonated strongly.

The film also skewered religion. Religion comes into play in various ways. Frank Burns is a zealot. When Hawkeye and Duke show up as new surgeons they are put into a tent with Burns. He is teaching a local boy to read using the Bible. He prays fervently only to be ridiculed by the other. In time he is shown to be a hypocrite. Father Mulcahy is treated more kindly, but only because he is seen as innocuous. His efforts as a priest are really ineffectual and impotent. It is almost as if he is seen by the doctors as a child. The height of the mocking of religion is the “Last Supper” scene which many may consider as bordering on sacrilege. In it the characters eat a final meal before Painless’s planned suicide. As they gather at a table in a tent, they are positioned exactly like Jesus and the Twelve in DaVinci’s painting.

The film’s anti-religious sentiment was also very much a part of the zeitgeist. Even though I attended a Christian college, this way of seeing religion reflected my own views of the institution of religion. In those days, we wanted to find a simpler expression of faith. This was also the time of the hippy-like Jesus People, and musicals like Jesus Christ Superstar and Godspell, all of which reflected attempts at new ways of understanding Christianity.

But all of these things I expected when I watched the film at AFI Fest. What struck me after nearly fifty years was the extent to which this film objectified women. The women served as the focus of lust. Even those who exhibited some kind of competence (Major Houlihan, Lieutenant “Dish”) all served to make life better for the men in the film. This was especially noteworthy since the day before the screening at AFI Fest, women gathered at Hollywood and Highland for a protest march about sexual harassment in the film industry. I expect that this attitude was also very much in line with the times. Women’s liberation existed only in a nascent form. This film would be criticized today for this treatment of the women characters.

In some ways this film may seem a bit anachronistic. After all the draft has been gone for over forty years. The all-volunteer armed forces are much different than the Vietnam and Korean War versions. And my generation has become a part of many of the institutions that we so wanted to tear down. (Hopefully, we’ve managed to change them more than they have changed us.)

But M*A*S*H still represents an attitude that needs to be a part of our culture. It looks at the foolishness that is nearly always found in things (like war) that demands to be taken seriously. It’s not a bad idea to step back from time to time and make note of the folly around us. And since I’m no longer that young would-be rebel, I (and my generation) may be in line to be the focus of the satire.

The Long Road Home: Lessons Learned

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(Photo: National Geographic/Van Redin)

When we last left the eighteen trapped soldiers in The Long Road Home (National Geographic), they were surrounded on all sides by enemy insurgents carrying human shields.  Lt. Shane Aguero (EJ Bonilla) gave the command to open fire while the screen went to black.  It was an effective way to end an episode, that’s for sure.

The final three episodes chronicled the continued search and rescue of not only Aguero’s team, but a second platoon led by Staff Sgt. Robert Miltenberger (Jeremy Sisto) who had a broken down vehicle, limited protection, no method of communication, and a bunch of soldiers who had never fired a gun in combat before.  Sadly, the result was exactly what you might expect.  Insurgents saw the weakness and attacked it mercilessly, leading to a number of significant injuries and deaths.

Aguero’s team was also in significant danger after the shots rang out in Episode 5.  They still had a house of refuge, but insurgents were still swarming.  The main problem was a lack of ammunition, dwindling by the second. Their interpreter  Jassim al-Lani (Darius Homayoun) was still around, but even he was in trouble if the ammo ran out.

As you might expect, there was some good news. A tank finally found them, but only after Aguero put himself in the crosshairs of death for the third time, chasing the tank down with a flashlight. Miltenberger makes a dash to keep an insurgent from bringing friends, but finds himself looking down the barrel of a gun—just as he predicted.  Thankfully, the person wanted to help him.  In the end, the soldiers in both platoons were rescued and taken to the base, where their injuries were treated.

But not everyone was able to successfully recover.  Pfc. Tomas Young (Noel Fisher) was left paralyzed thanks to a bullet that hit him before he ever fired a shot.  Specialist Israel Garza (Jorge Diaz), always the jokester, didn’t survive his wounds.  The scene where members of the Army inform his unprepared wife Lupita (Karina Ortiz) was difficult to watch.

I thought the ending was well done as Lt. Col. Volesky (Michael Kelly), in a gathering of the soldiers, called out the names of the eight soldiers who died, giving them the honor they deserved.  The role of the surviving soldiers was reinforced when they had a meeting the next day and told about their upcoming mission.  It wasn’t a ‘one battle and you get to go home’ deployment; it was ‘stay until the mission is complete, then go home.’ In the end, the ambush cost eight lives, injured over 60, and left soldiers with physical, emotional, and spiritual scars.  War isn’t fun; that’s for sure.

(Photo: National Geographic/Van Redin)

So what can we learn from all of this?

* As just noted, life doesn’t stop just because an attack occurs. We sometimes have days when it seems everything goes wrong.  We’d like to crawl into the bed and hide until the sun shines again.  But that’s not the way life works.  Instead, we have to draw on our reserves of courage and determination (or just ask God for some wisdom – see James 1:5) and go out again into the world.

* Sometimes bad things happen, as with Pfc. Young. We have to choose how to handle the adversity—can it be used for good in some way, shape, or form? If so, we can make a positive difference in the lives of those we come into contact with (see Romans 8:28).  Or we can choose to wallow in negativity, passing that on to people who don’t deserve it.

* I was struck by the role hope played in The Long Road Home. It would’ve been extremely easy for Aguero to give up as the odds were definitely against his squadron. But deep inside, he continued to hold out hope of being rescued even when the world around him was burning. That didn’t mean he was able to sit idly by; he had to lead his troops, play the role of counselor, and go after the tank after it drove by them numerous times.  Hebrews mentions faith “is the confidence that what we hope will actually happen; it gives us assurance about things we cannot see” (11:1 NLT).  That hope turned into faith, which eventually saw his troops rescued with only Chen dying.

The Long Road Home brought the realities of the Iraq War into homes across the country. It wasn’t easy to watch at times, but was a necessary reminder of the sacrifice and bravery our soldiers make on a daily basis. Thank you, men and women of the Armed Forces, for all you do!

The Long Road Home Ep. 3: War Challenges

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Captain Troy Denomy has no clue his unit is about to be ambushed (Photo courtesy National Geographic).

When we last left the members of the First Calvary Division, Fort Hood in the National Geographic series The Long Road Home (Tuesdays 10PM/9 CT [note the time change] and on demand), two separate divisions of the brigade were heading into Sadr City to rescue an ambushed unit.  The third episode brings the viewer closer to the fighting—and it’s not pretty to watch.

First Lt. Shane Aguero (EJ Bonilla) and his men are attempting to hang on until rescuers arrive.  That means going back into harm’s way to retrieve flares to indicate their position to the other units.  The problems are many–first, the attack is well-conceived and each of the other units are walking into a trap.  In addition, the units are ill-prepared for conflict of this nature, be it communication (some vehicles have no radios), armor (one truck is completely open, leaving at least twelve soldiers in the line of potential fire), or experience (the fear some of the soldiers display is palpable). Camp War Eagle knows it’s not going to be pretty, so they start preparing a medical unit for treating injuries.  Problems exist there as well—their main doctor is a pediatrician and there are no units of blood available in case something happens.

Troy and Gina Denomy (Photo courtesy of National Geographic).

The focus of this episode is Captain Troy Denomy (Jason Ritter), who feels remorse for sending Aguero’s unit out and learning one of their own has died in the process.  He’s married to Gina (Kate Bosworth), who sits at home with a newborn while trying to recover from a C-Section.  Troy does what he’s been trained to do: rushing into the middle of the fray in order to rescue people. However, he soon finds his group pinned down as bullets rain through the sky, injuring himself and multiple members of his vehicle.

Gina knows being the head of the Family Readiness Group has its blessings as she finds out what’s happening before the rest of the wives.  Then again, it has its trials when she learns the team has been attacked. Because of her husband’s status, she knows Troy is going into harm’s way, but she no clue that he’s been wounded in battle.  However, she has to stay calm and let the rest of the wives know an attack has occurred–something nobody on base expected or wanted to occur.

I struggled with this episode, especially one scene where one of Aguero’s men keeps watch while on the top of a building.  He sees a young boy playing with a machine gun, then watches in horror as he points it directly at the soldier.  When the gun is fired, the soldier shoots the kid.  His father hears the commotion, sees what is going on, then takes up the gun to fight—he is also killed.  Finally, the grandfather grabs the gun and is killed.  There’s significant remorse in the soldier’s voice as he laments he killed three generations of a family.  In split-second decisions, how do you know what’s the right thing to do when neither option is truly acceptable?  This is where moral wounds arise.  I could imagine this being the reason why so many of the soldiers found a measure of comfort from the words of David in the Psalms.  Green pastures and still waters (Psalm 23:2-3) are a whole lot peaceful than desert sands and dry streams. But the soldiers have to be vigilant, knowing one wrong move could be their last.  That vigilance will be further tested in the next episode; that’s for sure.

The Long Road Home Ep. 1&2: Come Together

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(Photo: National Geographic/Van Redin)

If possible, so far as it depends on you, be at peace with all men.
–The Apostle Paul

Peacekeeping was the goal for the members of the First Calvary Division when they headed to Sadr City, Iraq in 2004.  It was a quiet area with one incident in the previous calendar year.

Two weeks later, that peace turned into war and a desperate fight for survival.

The first two episodes of National Geographic’s new series The Long Road Home (tonight, 9 PM/8 CT) chronicles the events of Black Sunday and paints a multifaceted picture of war and its effects on not only the soldiers but their families seven thousand miles away.  Based on the New York Times bestseller of the same name by ABC Chief Global Affairs Correspondent Martha Raddatz, it’s intense, violent, and sad—sometimes all at once.  It’s definitely must-see-TV (or at least must-DVR).

Each episode focuses, to some extent, on one of the main players in the Black Sunday attack on April 4, 2004.  1st Lt. Shane Aguero (EJ Bonilla) is the focal point of episode one as the leader of the group initially attacked.  The viewer sees him at the outset playing with his two kids, each of whom are taking his deployment hard.  His daughter is clinging to his side while his son wants absolutely nothing to do with him.  His wife Amber (Kate Paxton) is left to deal with things until he returns, but she has a group of wives on base who have banded together to provide support until the boys come back (if they do).

Life at Camp War Eagle seems quite boring, but who really wants action when it could mean dying in the process? When Aguero’s battalion is ambushed, it’s the first time many of the troops have ever experienced live fire of that nature.  It’s easy to tell the soldiers are a band of brothers, and when one of their own gets hit, it’s a race against time to keep him alive.

Courtesy National Geographic

The second episode looks at the situation through the eyes of Lt. Col. Gary Volesky (Michael Kelly, seen above), a calm, mild-mannered man who lives a life of faith back home.  There are flashbacks to his family praying before dinner and a few situations where he is asking God for faith in what would become two days of nightmares.  One of the most heartbreaking parts of the episode is when a soldier introduces his mom to Volesky, who promptly demands reasons as to why her son is being forced to deploy.  After calming her, he promises that everyone on the journey will return home alive. You can see his resolve shaken when he later learns one under his charge was killed.  Aguero’s team calls for reinforcements, and when they head out (inadequately protected, BTW), Volesky stands beside the chaplain as he prays a long prayer for them.  It’s easy to tell that the situation is going to get a whole lot worse before it gets better.

I was immediately struck by how galvanized the troops were to each other.  Sure, they got on each other’s nerves and struggled with making the right decisions at times, but in the end, they all came together and took care of each together.  This was in direct contrast to the interpreter they had on board (Jassim al-Lani, played by Darius Homayoun), who seemed to be dispensable—especially to Sgt Eric Bourquin (Jon Beavers).  The writer of Ecclesiastes notes that “Two are better than one because they have a good return for their labor. For if either of them falls, the one will lift up his companion. But woe to the one who falls when there is not another to lift him up” (Eccl 4:9-10 NASB).  It works in friendship, it works in marriage, and it works in life-and-death situations. That writer was pretty wise!  We were not made to life live alone, and the first two episodes of The Long Road Home are testimony that is the case.

The Long Road Home: Interview with the Cast

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Every individual who enters a branch of the US Armed Forces understands there is a possibility of having to be in a combat situation. They also understand there’s a chance they will be wounded or potentially killed while attempting to complete their mission.  The First Calvary Division from Ft. Hood TX was on a basic peacekeeping mission in Iraq in 2004—the city they were placed in, Sadr City, had been incident-free for nearly a year.  Nice and easy, right?

On Palm Sunday (April 4, 2004), the First Calvary Division came under a surprise attack resulting in nearly fifty soldiers being wounded, along with eight deaths. It was horrible, to be sure—an event that was written about by ABC Chief Global Affairs Correspondent Martha Raddatz in her book The Long Road Home.  On Tuesday, November 7th, National Geographic will broadcast an eight-part miniseries chronicling that day in Iraq.  I had the recent opportunity to interview members of the series and discovered that despite the difficult circumstances, the concept of family and faith was critical to the survival of both the soldiers and their families seven thousand miles away.

(Photo: National Geographic/Van Redin)

For the soldiers, the situation was pretty dire—but they didn’t fight alone. Katie Paxton, who played the wife of 1st Lt. Shane Aguero in the series, said that, in reality, “Every soldier is you, is me, is your neighbor.” As a result, the families deploy with the soldiers (though not physically), constantly worrying if their loved one will return to embrace them again. It’s a sense of sacrifice that isn’t lost on the children. Karina Ortiz, playing the wife of Spc. Israel Garza, noted that the soldier is seen to some kids as abandoning them instead of a hero.  Others attempt to cling to them in a sense of desperation. It manifests itself into varied and unpredictable forms of behavior as a result.

War is a test on couples as well.  Paxton noted that the wife is basically a single parent.  It’s an additional level of stress and trauma to deal with. Martha Raddatz added that since the families don’t know anything, they’re constantly terrified. As a result, the wives have no real choice but to form a close-knit community.  Jorge Diaz, who played Israel Garza, shared that it’s also tough on the soldiers who constantly think about their families back home.  The occasional phone call helps but doesn’t relieve the worry.  In addition, the soldiers miss out on large chunks of family life.  In the case of Shane Aguero, his tours of duty caused him to miss 65 months of his kids’ lives.

When soldiers get into the heat of battle, they are forced to make split-second decisions affecting people’s lives.  But that’s not all they deal with in those moments.  Sometimes, a soldier is hit by gunfire or shrapnel and has to deal with physical injuries. But Aaron Fowler, US Army veteran, mentioned a unique term in my interview: moral injuries.  Moral Injuries are unseen and involve doing something that is legally correct but violates a person’s morals (such as killing a child who has a suicide vest on). In these cases, deep spiritual trauma can occur.

To this end, faith in God is almost a requirement for a soldier.  Chaplains are deployed just like soldiers and help the soldiers spiritually, but they don’t have weapons.  Mikko Alanne, executive producer and screenwriter, added that each episode of the series has a focus on a specific character and theme.  The second part of the episode on Tuesday evening has a theme of faith—and it’s readily on display for the viewer to see. He referenced Psalm 130:1, “Out of the depths I cry to you, O Lord,” mentioning that faith can give people the will to survive in a difficult time. Eric Bourquin, US Army veteran featured in the series, noted that “if you have nothing to believe in, you have nothing to hope for.”

It’s important to know not only what happened, but why it happened, according to Alanne. The Long Road Home was created with meticulous attention to detail to honor the soldiers who were a part of Black Sunday.  As Fowler noted, why would you sacrifice the relationship with your brothers for something that’s not accurate?  It became a solemn responsibility for them.  Raddatz mentioned that when the event happened in 2004, she received two photos of the whole thing, so her reaction to first seeing the final product was one of “absolute awe.”  After seeing two episodes, you’ll probably say the same thing.

The Long Road Home premieres Tuesday, November 7th at 9 PM (8/CT) on National Geographic and will feature the first two episodes.

Special thanks to National Geographic and Andy Peterson from Different Drummer for coordinating the interview sessions.

3.27 Surviving DUNKIRK

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This week, Steve welcomes podcaster David Peck (Face2Face) and ScreenFish’er Julie Levac to talk about Dunkirk, Nolan’s latest epic that’s scoring with critics and at the box office.  Emphasizing visuals and sound over dialogs is a new creative step for Nolan and the film benefits from his willingness to step out of his comfort zone.  Still, is the film is a grim look at war or a more hopeful look at survival in tragedy?  Does it emphasize the value of community or is the individual action most important?  All this and more, this week on ScreenFish.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

3.27 Dunkirk

Thanks David and Julie for coming on the show!