Review: THE MESSENGER

If you have a husband or son fighting in Iraq, the last people you want to see knocking at your door are those played by Ben Foster and Woody Harrelson in the new film THE MESSENGER. Filmed around Fort Dix, New Jersey, THE MESSENGER is about two Army officers assigned by the military’s Casualty Notification Office to show up at the doorsteps of next of kin and recite a scripted dispatch breaking the bad news about the death of a loved one in combat. From first-time director Oren Moverman, THE MESSENGER is a very emotional, if simple drama with strong performances that thankfully does not take a political attitude about the war itself. It works best in the scenes illustrating the grief and anger the two men encounter, and not so well in a half-baked romance that develops between one of them and a bereaved widow.

THE MESSENGER is about Captain Tony Stone (Harrelson), a grizzled alcoholic lifer who takes his notification work seriously and, jaded and hardened by the job, performs his unpleasant duties by the book. Staff Sergeant Will Montgomery (Foster), highly decorated and recently wounded, is playing out his final months of service in the Notification Office. Will, traumatized by his ex-girlfriend Kelly’s (Jena Malone) recent engagement to an old friend, has trouble keeping his emotions in check as Tony attempts teach him the ropes. Tony’s primary directive is to refrain from showing any compassion to the bereaved. Offering no hugs, empathy, or help, Tony’s attitude is to just say his lines and get the hell out of there. Of course this goes against Will’s nature and he soon develops a romance with Olivia (Samantha Morton), the one next-of-kin who showed no sorrow upon receiving notice of her husband’s death.

There can’t be many worse jobs than Will and Tony’s and the heart of THE MESSENGER are the half dozen scenes where the two men break the bad news to family members left behind. These wrenching moments, acted in foyers and front porches, are devastating and we watch helplessly as heartbroken parents and wives crumble in pain, tears, outrage, and denial. The acting by these one-scene players, especially Steve Buscemi as a father enraged by the news of his son’s death, is hugely powerful. By contrast, the acting by the two leads, both known for their wild-man performances, is restrained. Ben Foster, he of coiled intensity in films like ALPHA DOG and 3:10 TO YUMA plays a more relaxed and melancholy character in THE MESSENGER, a man damaged in spirit as well as body and shows impressive range. Foster will no doubt receive the most acclaim but I found Harrelson’s work even better and his character more complex. Alternately grim, blustery, and comical, Harrelson gives one of his best performances in THE MESSENGER and with sardonic dialog like “It could be worse. It could be Christmas” and “There’s no such thing as a satisfied customer”, delivers the films best lines. With this, ZOMBIELAND, and 2012, Harrelson is having a great year as an actor (almost making up for last year’s SEVEN POUNDS).

THE MESSENGER isn’t strong on plot, more an episodic character study and it doesn’t have much to say about war. By far the weakest element is Will and Olivia’s romance. Tony accuses Will of taking advantage of the widow’s tragedy and the dynamics of their relationship is indeed sketchy. Apparently there was a sex scene in the original screenplay, but director/writer Moverman cut it out after U.S. Army officials, who cooperated in the making of the film, didn’t approve of the idea of soldiers sleeping with fallen comrades’ wives. There’s perhaps too much drunken male bonding and a scene where the two crash Will’s ex-girlfriend’s wedding doesn’t ring true and probably should have been left out, but on balance, THE MESSENGER is a fine drama and a worthy film.