Fort Bliss: Moms at War Myer’s movie offers a satisfying completion of the Long War Trilogy started by The Hurt Locker and Lone Survivor. It would be a shame if Fort Bliss isn’t given the opportunity to reach a bigger audience.
America has been at war for over a decade. In that time, Hollywood has managed to make only three films worthy of the people who do our fighting—The Hurt Locker, Lone Survivor, and Fort Bliss. In one way or another, all three stood apart from mainstream Tinseltown. They reached the big screen more because of the passion and vision of the filmmakers than the Hollywood suits who usually pick and choose what gets released to the corner cinema.
Take the The Hurt Locker, Kathryn Bigelow’s story tracing the harrowing experiences of a three-man bomb disposal squad in Iraq. Big studios were not that interested in it. As Bigelow noted in a 2009 New York Times interview, “I’ve never made a studio film.” But audiences loved this movie. The Hurt Locker won the Best Picture Oscar in 2008.
Peter Berg’s Lone Survivor (2013) performed equally well at the box office, but was snubbed by Oscar. Although Berg has made his share of standard Hollywood fare, this film was anything but mainstream cinema. The director struggled to find support and financing to bring the story of an ill-fated Special Operations mission in Afghanistan to the screen. “Nobody puts a gun to your head and makes you do something,” Berg said in one interview, “It’s just better when you care.” Audiences cared. It was one of the highest-grossing films of the year.
Less well-known is Claudia Myers’ Fort Bliss. It recently opened with only a very limited theatrical release. The movie follows an Army medic—a single mom who returns home and struggles to reconnect with her young son only to be confronted with the possibility of being deployed once again.
In addition to the fierce commitment of their creators, the films have something else in common. They are all small movies about long, difficult wars. Yet each is virtually devoid of the politics of war. They aren’t films for the right wing or the left wing. They are smart enough to recognize that, for the people who fight our wars, politics are left at the war’s edge. It is not possible to make an authentic American war film and wrap it in a political agenda.
Further, each of these movies could have been transported to any American war, and the stories would have worked just as well. They each focus on the quintessential and timeless experience of Americans at war. They are studies rooted in why we fight and the impact that service has as it ripples through the lives of men and women in uniform and their families.