What Kathryn Bigelow understands about the war on terror that no other director does
Kathryn Bigelow's war movies shy away from big messages. That's why they capture the post-9/11 mood so well.
Elizabeth Edwards likes to tell other women that they're pretty. In her book, Saving Graces, she describes a classmate as a "pretty waif" and a hairdresser as having a "small, pretty face." A young girl who died in a car crash was somebody's "pretty daughter." A loyal fund-raiser's unnamed wife is "distractingly beautiful." Recently, she was chatting with supporters at a house party in New Hampshire, held in a living room crammed with antique dolls and interested locals.
In the days leading up to this September 11, CNN's commemorative tribute "America Remembers" occasionally cut to footage of a reporter on that day last year, blank faced, hair covered in soot. The reporter would force out the plain facts, insofar as they were known--"We hear another plane has crashed"--then fall silent, forgetting the usual first-name banter with the anchors. Sometimes the stunned reporter even got the day wrong--"Here, this Wednesday morning ...
You’re straining to see over the heads of about a million reporters seeding the White House lawn, but you’re not sure what there is to see. There is a limo parked right up to the curb, and you imagine maybe Monica will step out in her trench coat, like she did last night on TV. Instead, the door to the Roosevelt Room swings open, and Senator Dianne Feinstein steps out. (Or is that Barbara Boxer?) The press octopus makes a lunge for her, but the tiny figure in lavender merely smiles, chirps “See ya later” and disappears into the shiny car.