Having courted controversy over its choice of casting, ‘Whiskey Tango Foxtrot’ diverts the spotlight away from the troops; shining it on those who make sure the soldiers’ stories are told.
Previews of upcoming feature films aren’t the most reliable representation of what a film will be like. Once film previews stirred the curiosity of film audiences by creating a mystery, with seeing the film the only way of solving it. Now, the popular saying goes 'the best bits of the film are in the trailer.' While it is understandable film marketers only have so much time to promote their product – and they want to show its best features – it can lead to a film being completely different to how it's advertised. The advertising for Tina Fey’s ‘Whiskey Tango Foxtrot’ bills it as an all-out laugh-fest, but what is really in store is an interesting dramatic film with elements of comedy about how war can affect those reporting on it.
Kim Baker (Tina Fey) is in a rut. Stuck in a career and relationship which both don’t offer any satisfaction, Kim takes on what is meant to be a 3-month assignment as a war correspondent in Afghanistan during Operation Enduring Freedom in 2003, which turns into 3 years. Staying in a shabby accommodation filled with other international journalists (including Martin Freeman and Margot Robbie), Kim adjusts to her new lifestyle of competing for stories with other journalists during the day, while partying a little too hard with them at night, all in the confines of a country with a culture which is completely different to the West, especially for women.
Despite the film’s marketing and its cast of actors who have established themselves in the world of comedy, it wouldn’t be entirely accurate to call ‘Whiskey Tango Foxtrot’ a comedy. Sure, it has moments, but the film fits more in the realm of dramedy, much like the works of Diablo Cody ('Juno', 'Young Adult'). But, the comedy in the film feels much stronger than the drama, with the latter not seeming to be able to reach the heights its stronger comedy moments do. From Kim’s interactions with the locals and getting some of them wrong, to the most terrific swearing heard since British political-comedy ‘In The Loop’, the comedy moments hit their targets. But, most of the more dramatic moments don’t seem to stir much of a response. Tina Fey shows she is capable in the title role, especially during the more comedic and light-hearted moments, but her discomfort in the more dramatic moments is visible. With her name tagged as a producer, the film may also serve as an exercise for her to slowly inch her way towards the depths of drama.
A kidnapping which takes place further on in the film doesn’t seem to lead to much empathy for the character this is happening to. This could be put down to the character not being very well-developed. We don’t care as much about the character because we don’t really know him. Even though he has a larger part in the film, the character feels like a drinking buddy – he’s good for a laugh, but outside of that, we don’t really know him. It’s a shame a film about reporters can’t make a connection with someone in such a situation, compared to news programmes which elicit emotional responses to those in similar situations. However, the film isn’t a complete failure in this department. A scene about an interview going terribly wrong captures the carnage and horror that is the reality of war; something it does just as well as other war films.
But, despite its white lie, the film is a very interesting and captivating portrayal of those who are in these war zones and informing the rest of the world why we support our troops. In fact, it may be the first war film which isn’t about the soldiers, nor war. It also holds the distinction of being one of the first war films to give a human face to the civilians, rather than just using them as exploding props in the background like other war films.
Kim’s assistant Fahim (Christopher Abbott), helps guide Kim, showing there is more to these people than just the usual tropes of them being either helpless or terrorists. One fantastic scene portrays this, involving a destroyed well, and actually shows the reality of the Muslim women living in these war-torn villages, and how despite the circumstances still get on with their lives. With such fantastic portrayals of Middle Eastern citizens, it is a shame about the casting choices of these characters being insensitive. Alfred Molina (as government official Ali Massoud Sadiq) and Christopher Abbott do a great job in these roles, portraying their characters with warmth, depth, and sensitivity. But, despite this, it is still hard to understand why it is that Afghan actors couldn’t have played these roles.
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If anything, the film offers an interesting analogy for those addicted to seeking out their next big hit of adrenaline. Fey’s character develops over the course of the film in very interesting ways; mostly through the ways she becomes more reckless in order to get her next story. The need to get their next big story to prove their worth, and the actions they take to get them, shares some similarities with base jumpers who climb higher and higher peaks to get a hit of adrenaline which tops the last one.
What starts with a light-hearted piece on the everyday lives of civilians soon becomes an interview with a war lord. But interest from viewers eventually wanes, and they have to do bigger and more exciting stories to gain interest again, like carelessly wandering into a battle to capture footage, and becoming less about reporting on the war itself. The amount of drinking and drug-taking – whether to blow off steam, or as a way to keep them constantly wired in case of a sudden story – becomes nothing compared to their need for their next big hit.
Despite the number of problems with the film, ‘Whiskey Tango Foxtrot’ is a captivating and interesting film which reveals another story of war that most would not consider.
★★★1/2
'Whiskey Tango Foxtrot' is in cinemas now.
