Due to eons of survival-based conditioning, people have certain instincts that are hardwired into their systems. One is a fear of being eaten alive, while another is drowning. An equally horrifying one -- that somewhat borrow elements from those first two -- is being buried alive. It's a point the news media has latched onto, especially if the circumstances seem dire.
Accordingly, a cave-in at a beach or construction zone gets some press, but survivors trapped in rubble caused by earthquakes, mine tunnel collapses or warfare get bigger headlines, particularly if the ensuing task at hand -- trying to find and dig out any survivors -- ranges from daunting to seemingly impossible.
While such rescue attempts happen all of the time here and abroad, the one that captivated everyone around the world followed the attacks of September 11, 2001. That's when approximately half a mile of debris rained down onto lower Manhattan following the collapse of the World Trade Center towers, trapping office workers, first responders and anyone else unfortunate enough to be there that fateful autumn morning. Since no one really knew how many victims and rescuers were in the buildings at the time of their demise, and due to the massive amounts of debris, the rescue attempts were unparalleled in U.S. history.
Sadly, there weren't that many survivors, although a lucky few were police officers with the New York Port Authority who were trapped for more than twelve hours. Their tale now appears in "World Trade Center." Following in the carefully placed footsteps of "The Guys" (about the aftermath of the event on a NYC firefighter wishing to honor his fallen comrades) and "United 93" (detailing the passengers, crew, and terrorists on that ill-fated flight), the film both suffers and benefits from its relative proximity to the real event.
Those still traumatized by the attacks and aftermath could find it (like the other films) arriving too soon and possibly even disrespectful in terms them believing it possibly trying to cash in on the universally known event. On the other hand, that temporal closeness gives the film, and the experience of watching it, an added layer of emotional connectivity and engagement that a similar picture (about a fictitious event) couldn't possibly possess.
The thing that might just polarize viewers the most, however, and especially before seeing it, is the fact that Oliver Stone is the man behind the camera. A lightning rod for controversy, the director can make great films ("Salvador," "Platoon," "Wall Street"), interested but severely flawed ones ("JFK," "Natural Born Killers") and outright flops ("Alexander"), but his politics and beliefs are nearly always worn right there on the proverbial cinematic sleeve. Despite a few moments that are a little heavy-handed, I'm happy to report that this tale is told in a straightforward, non-conspiratorial manner.
Split into three key portions, the script by Andrea Berloff focuses on two of those Port Authority officers stuck in the rubble, as well as their family and friends worrying about them, and finally the rescue attempt, which initially focuses on a lone, but determined ex-Marine who travels to Ground Zero in an attempt to do what he can.
In doing so, Stone and company tap into the immediate emotional responses many felt on that day and immediately afterward. While the filmmaker doesn't recreate the impact of the planes into the towers (beyond the shadow of one passing by on a different building, and views of dazed and bloodied people as well as all of those papers floating down to the streets, most of the immediate aftermath is shown via real TV news footage), he does capture the horror via the collapse as seen from within the concourse level between the buildings.
The focus then shifts to a few of the survivors -- including those played by Nicolas Cage and Michael Pena -- being trapped inside the rubble. The two deliver strong performances, particularly considering that nearly all of their acting following the collapse is from the neck up. It's here where the film threatens to stall -- after all, not much can happen as the two make pained small talk, while hoping and waiting for a rescue. Yet, the cast and crew manage to make it work, through doses of additional dangers, the viewers' innate fear of seeing someone buried alive, and even some occasional, but subtle comic relief.
To prevent those scenes from becoming redundant, the filmmaker spends a good chunk of time following their respective family members who anxiously await word about their loved ones. Maria Bello and Maggie Gyllenhaal also deliver strong performances in their emotionally wrenching parts, especially as they relate to their dealings with their children's varied responses to what's occurring. It's during these scenes that the filmmakers tap into the emotions all of us experienced while sitting at home or work feeling helpless and distraught.
The flip side of that emotion -- the "when the going gets tough" reaction -- is embodied by what's arguably the film's most compelling character, the ex-Marine played by Michael Shannon. Feeling the need to answer the calling to use his God-given talents, he gets the regulation Marine haircut, dons the traditional outfit, and then travels to Ground Zero to do what he can. After helping rescue some trapped men, he solemnly makes the statement, "We're gonna need some good men to avenge this."
But that's about as political as the film gets, and viewers may be conflicted about Stone's straightforward approach at telling these inter-related stories. Some will be happy he's gone the simple route and avoided any sort of directorial flourishes and controversy that's marred some of his works. Others may feel he's whitewashed the event of any social or political commentary that was and still is tightly woven into the events.
While I didn't find it as emotionally raw, overwhelming and devastating as "United 93," it does have its share of powerful moments (as well as some rather slow, almost made for TV movie type ones). One should note, however, that it's really just a series of intimate, personal tales stemming from a huge event, and that while the filmmakers cover the gamut of initial reactions, they're not spanning the entire event. There are simply too many individual and collective stories to tell, meaning there aren't any dealing with the terrorists, the varied politics or the eventual military response.
Instead, it's a small-scale, human story showing the strength and resolve of family, faith, and self-preservation in dealing with a traumatic event that -- for however short a duration -- united Americans and even much of the world. Featuring good performances, vivid visual symbolism, and the perhaps too easy of a time tapping into still open emotional wounds, "World Trade Center" rates as a 6.5 out of 10.
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