[Originally published in Movietone News 30, March 1974]
Several months after its intended opening and a good seven or eight months behind the rest of the country, State of Siege has arrived. If the event is somewhat anticlimactic, it was scarcely expected to be otherwise. Costa-Gavras’s previous picture, The Confession, while exemplarily evenhanded in terms of the director’s career (leftist totalitarianism getting slammed as hard as rightist totalitarianism was in Z), was a tedious experience, and even the stellar-cast Z, emotionally and physically stirring while one sat before it, has tended to grow minor in retrospect. On the consumer-report level it must be noted that State of Siege affords a better time than The Confession without quite coming up to Z for sheer excitement—although in its limited way the new film essays a more complex problem, politically and aesthetically, than either of its predecessors. Based, like them, on a true series of events, the kidnapping and assassination of American policeman Daniel Mitrione in a South American police state, the film seeks to depict the political alignments of the society in which the crime takes place, the sometimes convoluted strategies of the various factions, and the ultimate ineffectuality of the terrorism on both sides. That any complexity will be admitted by the filmmakers is not immediately apparent: the Tupamaros who kidnap Mitrione (here called Santore) are young, unspectacularly photogenic, intelligent and dedicated, while their advocates—journalist O.E. Hasse and parliamentarian André Falcon—are urbane, witty, and unflappable; their rightwing counterparts are apoplectic, shifty-eyed, shrill, self-interested. Costa-Gavras has straightforwardly defended this bias by suggesting that the Left has a, er, right to its own “John Wayne–type entertainments.” And certainly one needn’t be a rabid rad to turn on to the film; the less-than-radical viewer will—if not be radicalized—at least pick up some salutary political education, as in a voiceover montage where one government minister after another climbs out of a series of interchangeable limousines and, on his way to a top-level conference, is identified as director of this or that or those corporations, many of them American companies, some of them virtual political and economic dynasties—and these men are the government of Uruguay.
[Originally published in Movietone News 34, August 1974]