“Welcome to Benghazi.”
It shouldn’t matter what your politics might be. The events in Benghazi on September 11th, 2012 bring up some very important questions. Contrary to one 2016 presidential hopeful’s declaration, it does make a difference. It did to the people who were there. It does for the families of the four who lost their lives. And it should make a difference to you. With such a political hotbed issue, you’ll find that 13 Hours goes out of its way to avoid the political questions. Some might view this as an oversight, but I think it gives the film a greater sense of credibility and makes its impact on the audience to fill in their own political blanks.
13 Hours: The Secret Soldiers of Benghazi is based on a book by Mitchell Zuckoff and based on the actual accounts of the six soldiers who defied orders and acted during the conflict. Both the book and the film are able to avoid the direct political questions by remaining true to their mission. The film only explores those things that these six heroes could have known at the time. There’s no mention of Hilary Clinton, who was Secretary of State during the disaster. We’re merely told that Obama has been briefed early during the conflict. There are no accusations or judgments in the telling. In reference to the video controversy, there is only one line delivered by one of the six. He is told that there’s been some blame on a video and that these were protests. He merely states that he doesn’t know anything about a video, but he didn’t see any protesters. The only mention of Ambassador Chris Stevens’ documented pleas for help comes in a short moment while the ambassador is writing in his journal, and we’re not hit over the head with any of those political hot potatoes. But you may leave the film with some strong political feelings. The beauty of the film is that they will come through your own visceral interpretation of what you’ve seen and whatever moral or ethical questions you find yourself asking. They aren’t provided for you, and you are not told how to judge the events. But you will anyway. I think it’s impossible not to.
The film begins as we’re introduced to the CIA contractors. They have a bit of a faceoff in the street that doesn’t turn violent but has the potential. It’s more like a Jedi mind trick, as the bad guys are pretty much told that these are not the droids they’re looking for. It has nothing to do with the ultimate events of the film but sets up the toughness of these guys and their conflict with the CIA bureau chief, who makes no secret of the disdain he has for the grunts and muscle. “Bob” is played by Davis Costabile, who does a wickedly convincing job of the elitist CIA operative who has no respect for the security force. Of course, things change when he eventually depends on them for his own life. If the film has a weakness, it is that it takes too long to set up these relationships and get to the action we know is coming. Director Michael Bay may have overplayed his hand here in the time and effort he uses to make that point.
Once the action starts, Michael Bay is comfortably in his own element. We’ve come to expect carnage on a grand scale with a director who is known for how well he can blow stuff up. As much as his Transformer style can be found here, let’s not forget that Michael Bay also gave us Pearl Harbor, which did a wonderful job of blending these explosive scenes with emotional human interest. In case we’ve forgotten, Bay reminds us of Pearl Harbor by repeating one of his most famous elements of that 2001 film. There we followed a bomb downward to its destructive destination. In 13 Hours, Bay pays himself a bit of homage by repeating the effect with a mortar shell. The gag works, and Bay should be forgiven a little self-indulgence here.
That’s because this is actually a subtle film for Bay. Not that there aren’t shattering explosions and some of the most intense firefight scenes you’ll see. But more because he brings us so much more intimately into the action and allows it to fit into a tapestry that serves more of a story. Again, it’s more Pearl Harbor than Transformers. Still some of this stuff is just too exciting. Trees burn throughout the battle. Cars are exploded end-over-end. One car just makes it back to camp with its tires completely engulfed in flame as they roll to a stop just inside the temporary net of safety.
With all of the elements of a traditional war/battle film, Bay does not take the traditional route. So all of the elements are there, but this feels like a different kind of film. Bay uses horror film beats and atmosphere more often than that of war. As the bad guys amass in an area appropriately called zombie land, you get that feel from the lighting and staging of the attack. We see fleeting shadows and often lumbering enemies in a landscape that looks very much like one of those last stands in a show like The Walking Dead. Bay utilizes something akin to jump scares before the all-out firefight. He definitely teases us in the grand tradition of a John Carpenter. He also gets a lot of mileage out of severe damage to a soldier’s lower arm and hand. It’s a creepy effect that he might go to once too often. It’s as messed up and gory as anything you’ll see in a zombie film.
Max Martini is the best of a solid crew of actors playing the brave six. He has just the right touch of Marine commanding presence and humanity. The brotherhood between the men comes through quite well, so by the time their backs are against it, we know the distance they’ll go for each other. Every one of us would take any of these guys to watch our backs in any situation. They exude a level of confidence and duty that makes it even harder to understand why “Bob” would even have the guts to order them to stand down. I’ve watched the survivors interviewed on various shows of late, and it appears the casting truly nails these guys, from their mannerisms to the way they carry themselves. Black Sails’ Captain Flint, Toby Stephens, plays Doherty, who is the leader of the team that finally does come to offer limited help.
Video
13 Hours: The Secret Soldiers of Benghazi is presented in an aspect ratio of 2.40:1. The ultra-high-definition 2160p image is arrived at by an HEVC codec with an impressive average bitrate of 65-70 mbps. At times this reaches well over 100. It’s a very fine ultra-high-definition image presentation. There’s a rather heavy duty attention to details when this was filmed. It’s quite nicely reproduced here. Colors are bright when they are intended to be bright and warm when the material calls for warm. Black levels provide sweet shadow definition. Much of this film takes place at a manic pace, and you don’t have time to study each detail as it speeds across your screen. This is the kind of film where solid detail in both high and low light is important so that you can really see it all in a flash of a moment. Contrast is where the HDR shines when gunfire bursts in the dark night. The 4K image quality is apparent right from the jump. The wonderful establishment shot of the coast offers nice fine detail and contrast with the rust-red soil against the deep colors of the crashing ocean.
Audio
The Dolby Atmos defaults to a 7.1 track on most systems. This is a Michael Bay film, and you know what that means for the audio presentation. You know that he’s going to use those surrounds to put you directly in the line of fire. He’s going to surround your position with a battle that puts you right there in the action. Bullets whiz by your ears while wonderfully full sub response shakes you a few times just to give you that shot of adrenaline you have come to expect from Bay. Dialog cuts exactly as it is supposed to cut. Everything is just perfectly placed. You will become immersed in this action. It’s the subs that dominate. Mortar shells will rock your chair.
Special Features
This is a different approach to UHD releases. There is no Blu-ray copy of the film. That suits me fine. There is a Blu-ray disc, but it’s the bonus feature disc from the original release. Here’s what you’ll find there:
For The Record – Finding The Truth Amid The Noise: (8:02) Starts with actual footage from the burning compound in 2012. From there we get plenty of clips of the film as cast and crew talk about the events from which the film is based. The real guys provide plenty of background, and they are not shy about their feelings on the “protest” story spun by the State Department. The piece shows both Susan Rice and Hillary Clinton’s “What difference does it make” footage. This is the real “no spin zone”.
Uncovering Benghazi’s Secret Soldiers: (27:33) This feature focuses on the survivors and the story they have to tell. The cast and crew relate the value of having these guys there to talk to during production. Seeing them together is quite an amazing experience. You’ll be taken by just how much some of these actors look like the real guys.
Preparing For Battle – Behind The Scenes Of 13 Hours: (26:24) This is the more typical making-of feature. There’s plenty of production footage. Again Michael Bay shows just how much energy he has and how much fun he has making movies. There’s also the obligatory actor boot camp footage.
Operation 13 Hours Premier: (3:00) The film was premiered at Texas Stadium in Dallas on the huge Jumbotron. It was a charity event, and we get to check it out here.
In Memoriam: (2:58) This is a touching Amazing Grace tribute to those who did not come back from Benghazi.
Final Thoughts:
Every American should see this film. It should be required viewing in every political science class in America. Again, you just can’t leave the theatre without asking some important questions. I don’t care what political party you belong to. The difference it makes, for the benefit of the candidate who posed the question, is that something like this can’t happen again. When we put brave men and women in danger, we owe them at least to pick up the dang phone when they’re in trouble. Never again can we allow political necessity to leave Americans in a position like this. It amazes me that we all can’t agree on at least that point. Maybe seeing the film will drive it home for you. Maybe someone out there will see this film and answer their own question with a “that’s what difference it makes” epiphany. I doubt it, but I’d like to believe it anyway. Of course, I still believe in superheroes and Santa Claus. Well… the jury’s still out on Santa, but the six guys who risked their careers and their lives to save strangers? Looks like I was right about the superheroes. To the politicians who consider these losses the price of doing business, I can only say: “You can’t put a price on being able to live with yourself.”
