Film Review: Tears of the Sun (2003)

Among concepts that were all but worshipped in the West few decades ago only to lose much of its popularity in light of recent events a very special position belongs to “Responsibility to Protect”. It is an International Law doctrine that stipulates that a country, if it abuses human rights enough, not only loses its right to be sovereign but actually makes other countries to end this sovereignty by military action. In reality, the concept was applied almost exclusively by United States and its Western allies, most notably in case of so-called “humanitarian interventions” in Bosnia, Kosovo and Libya. Unsurprisingly, Hollywood was most enthusiastic promoter of said doctrine, finding it to be the most suitable way to reconcile bloodthirsty gung-ho militaristism right-wing audience with the delicate bleeding heart sentiments of left-wing critics. A textbook example of such approach is Tears of the Sun, 2003 action film directed by Antoine Fuqua.

The plot, somewhat inspired by events took place in various sections of Africa in previous decade, is set in Nigeria and deals with fictional coup d’etat. The rebel soldiers, mostly Muslims from the north of the country, have killed president and other members of civilian government, mostly Christians from the south, and are about to continue with its murderous campaign against the rest of the community. USA has sent aircraft carrier to monitor the situation and evacuate US citizens. Team of Navy SEALS led by Lieutenant A. K. Waters (played by Bruce Willis) is given the task of evacuating Dr. Lena Fiore Kendricks (played by Monica Bellucci), physician who runs hospital in remote jungle location. She, however, refuses to go unless SEALs agree to lead some of their patients to safety. Waters very reluctantly agrees, although it means disobeying direct orders of Captain Bill Rhodes (played by Tom Skerritt), his commanding officer. After realising that the rebels would kill any civilian they can get, this decision seems to be correct and Waters takes a long march towards safety beyond Cameroonian border, being relentlessly pursued by rebels who have very good reason to take out Waters and people he protects.

Tears of the Sun was greeted by intense hostility by the critics for two reasons. First one was having Bruce Willis in a starring role. The actor was known as one of very few Hollywood stars to openly support Republicans, and in the period of 9/11 he became staunch advocate of War of Terror, George W. Bush and his policies, something that the critics’ establishment in USA and elsewhere in the world even in those times considered unforgivable heresy. Another reason was Tears of the Sun being released in cinema only two weeks before the start of US invasion of Iraq, an event that was being sold to the public with the idea of USA being world’s policeman and with arguments very much like those Waters justified his actions in the film. Under the circumstances, it was all but impossible not the view Tears of the Sun as propaganda piece, which is a bridge too far even to the critics who bought the official post 9/11 line about America’s need to spread democracy in Third World through military action.

Outside its historic context, Tears of the Sun is actually quite decent film. Antoine Fuqua is very talented action-oriented director and the film, despite highly publicised quarrels with Willis on the set, is well done, with Hawaiian locations successfully passing for Africa, while use of real African refugees who have survived genocides and ethnic cleansing giving just enough authenticity to the whole endeavour. Willis plays his role of stoic soldier with a conscience well and film survives his lack of chemistry Monica Bellucci, whose underwritten character serves mostly as an eye candy. Although the history has proven proponents of an idea that USA can and must solve all the world’s problems wrong, anyone who watches this film can’t fail to be impressed by authors’ conviction that is worn on their sleeve and reflected even in the ending somewhat sour and dark for this sort of films.

RATING: 6/10 (++)

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