Boston Globe asks for Sympathy for suicide bombers.
Entertainment: This paragraph puts you into the mind of a liberal who believes everything is "understandable" and its the victim's fault.
|By Damon Smith, Globe Correspondent October 23, 2005 NEW YORK -- Are American audiences ready to see films that get under the skin of suicide bombers and then ask us, with some trepidation, to identify with them? Given the deadly assaults on Sept. 11, the recent bombings in London, Madrid, and Bali, and the ongoing suicide-terror campaigns in Israel and Iraq -- which have killed thousands of innocent people doing nothing more warlike than going about their daily lives -- the idea that people may not be ready or willing to see the enemy depicted as complex, flesh-and-blood, three-dimensional human beings is perfectly understandable. Since the Twin Towers attacks, many remain skittish even about the use of 9/11-like scenarios in Hollywood films, as Steven Spielberg learned after the summer release of ''War of the Worlds." But art, as we know from the high-quality paranoid thrillers of the '50s and '60s -- which channeled anxieties about nuclear annihilation and the Communist menace into febrile cinematic reverie -- is often born of cultural strife. As a visual form of storytelling, film has the power to go beyond warspeak, fear mongering, and political rhetoric. Terror is not abstract, nor does it emanate from some nebulous ''evil": It has a face, a name, a personal history, and, ostensibly, a rationale, however disfigured by political or religious extremism. ....Besides, he says, underscoring an implicit theme of ''Paradise Now," Palestinian suicide attacks are born not of religious fervor but of hopelessness and the daily humiliation of living under the occupation. ''What you are saying is, 'I am not a coward, I am very brave,' and 'I am not impotent, I am very strong.' These kinds of actions have been used when there was no hope for a solution, no political hope." Abu-Assad, born in Nazareth and now living in Holland, says he was intrigued by stories he'd heard about various bombers, details that weren't widely reported in the media -- ''it's amazing how shocking reality is, more so than film" -- and began scripting Said's character with his co-writer and producer, Bero Beyer, based on his research. But he curtly dismisses the suggestion that ''Paradise Now," in connecting the would-be bombers' profound sense of despair to living under the shadow of Israeli force, inadvertently makes him an apologist for terror tactics. ''Was Francis Ford Coppola, when he made 'The Godfather,' an apologist for crime? Nonsense."|