Down to hell Ed Zwick tumbles, over his good intentions. The director of Glory and The Last Samurai has set out willingly for the inferno of 1990s Sierra Leone, where drug-addled child conscripts carried out massacres for a rebel army, using guns bought through the diamond trade. His golden intention: to stir the conscience of moviegoers in the North so they will seek to end such horrors. When Americans go out for a date on Friday night, when they seek holiday recreation, Zwick will appall them with scenes they previously refused to watch on the 11 o’clock news. All he will ask, by way of thanks, is an Oscar or two.
In this way, Zwick has arrived at a substitute hell: the cinematic Styx titled Blood Diamond.
It is long (or, if you prefer, epic), expensively expansive, marvelous to look at (no matter how awful its events) and incorrigibly expository. Considering how much information Charles Leavitt’s screenplay dumps into your ears, you might at least expect to leave the theater with a focused analysis. But given the number of clichés Zwick has lavished on the subject, you are more likely to lose track of the argument, so that you’ll go away with nothing in mind but triumph and tragedy. The triumph belongs to thrice-noble Solomon Vandy (Djimon Hounsou), who starts out as a poor fisherman but by the end has a briefcase full of cash, a handsome new suit and lip service from a chamber of white diplomats. (So much for the suffering of Africa’s people.) The tragedy is that of Maddy Bowen (Jennifer Connelly), a conspicuously hot globetrotting correspondent for The Nation, or some such magazine. By the end, this unlikely figure has filed the biggest story of her career, but at what cost? Maddy will never again ride up and down on mercenary-smuggler Danny Archer (Leonardo DiCaprio)–so tanned, so sweaty, so interesting.
Don’t get me wrong: If any onscreen love interest would be worth Jennifer Connelly’s attention, it would be Leo, who comes to the role pumped and gives good dialect, too. But why (apart from the obvious reason) should Blood Diamond waste so much time building sexual tension between him and Connelly? With so many chases to cut to, why don’t they? Why, as Connelly waits for the inevitable, must she take seriously a role that Karen Allen in Raiders of the Lost Ark played for laughs? And speaking of those chases: How do the stars of Blood Diamond make so many improbable escapes from hails of bullets? You’d think the movie ought to be called Near-Death Experience.
“I know people who say there is something wrong inside our black skins,” Hounsou tells DiCaprio at a meditative moment between machine-gun bursts, “and we were better off when the white man ruled.” For all of Zwick’s good intentions, I see nothing in Blood Diamond to contradict this foul opinion. With exceptions that are painfully few (and painfully stilted), the film’s black Africans come booming their blood-lust song straight out of Vachel Lindsay’s “The Congo.” The white mercenary-smuggler, by contrast, is at heart a soulful fellow, trembling for Connelly’s redemptive touch. (“An entire country made homeless,” she sighs to him, with her right breast fetchingly displayed.) Anyhow, the white man still seems to rule, since the solution to Africa’s problems, evidently, is for several of the species to pass a resolution at a G-8 conference.