Some reviewers compare this film with Oliver Stone's fine Central American film, Salvador (1986). That's a legitimate comparison, but my feeling is that films should be primarily judged on their own merits. In that sense, Under Fire succeeds superbly, not least because of the first-rate staging. The peasant favelas are real slums, desolate, degraded, and perfect backdrop for the grassroots revolution underway in 1970's Nicaragua. It's easy to see why the Sandinista revolt would succeed even against the armed might of an American sponsored tyrant (Somoza). The movie makes a point of showing ready peasant support for anti- government personnel and even non-government journalists like the Americans. However, more contrast between the despoiled favelas and Somoza's swanky uptown precincts would have been even more powerful. Still, Somoza's gilded mistress, Miss Panama, does speak volumes.
The story itself is well-woven into the larger political backdrop, no easy accomplishment. At first, the three American journalists take their new Nicaragua assignment as just another war to cover and maybe a chance to win a few more awards. Russell (Nolte), in particular, can't seem to get beyond his camera shutter. To him, the human drama unfolding might be on a planet far away, while he snaps one frame after another. But then he is a journalist, with a set of professional ethics. If he takes sides in any dispute, then his work can no longer be trusted. Same for print journalist Alex (Hackman) and interviewer Claire (Cassidy). So the conflict between natural empathy for the downtrodden and oath to the profession sets up the basic conflict. Russell, in particular, is pinned on the horns of the conflict when rebels ask him to fake a photograph of their iconic leader, Rafael. I needn't reveal how the conflict plays out, except, crucially, it does resolve in a credible manner.
The acting is also first-rate. Too bad the three principals were passed over for Oscar nominations. In my little book, Nolte particularly shines in an understated role that could easily have gone over the top. And happily Cassidy's Claire avoids any hint of glamor, yet still manages a magnetic presence. At the same time Hackman has perhaps the most difficult role. His Alex must waver between friendship with Russell and attraction to Claire, while having to choose which political side he's on. Nonetheless, he brings them off persuasively. Still, I certainly don't envy Harris' thankless role as the unscrupulous opportunist, Oates. Apparently he thinks just being an American in a Third World country excuses everything.
Note in passing, the aerial leaflet drop, the only way, I suppose, the rebels have of mass communication since the government controls the media. And shouldn't overlook the two vintage rattletraps our journalists are stuck riding in. The tin jalopies get shot, cannonaded, slammed, and still they roll over debris strewn streets like real troupers. So, hats off to Detroit's finest!
Anyway, the movie's an expertly produced thriller of some depth. Too bad it's drifted into relative obscurity now that the political fires have lessened over time. One thing for sure—I'll bet Spottiswoode's film never screened in Reagan's White House.
The story itself is well-woven into the larger political backdrop, no easy accomplishment. At first, the three American journalists take their new Nicaragua assignment as just another war to cover and maybe a chance to win a few more awards. Russell (Nolte), in particular, can't seem to get beyond his camera shutter. To him, the human drama unfolding might be on a planet far away, while he snaps one frame after another. But then he is a journalist, with a set of professional ethics. If he takes sides in any dispute, then his work can no longer be trusted. Same for print journalist Alex (Hackman) and interviewer Claire (Cassidy). So the conflict between natural empathy for the downtrodden and oath to the profession sets up the basic conflict. Russell, in particular, is pinned on the horns of the conflict when rebels ask him to fake a photograph of their iconic leader, Rafael. I needn't reveal how the conflict plays out, except, crucially, it does resolve in a credible manner.
The acting is also first-rate. Too bad the three principals were passed over for Oscar nominations. In my little book, Nolte particularly shines in an understated role that could easily have gone over the top. And happily Cassidy's Claire avoids any hint of glamor, yet still manages a magnetic presence. At the same time Hackman has perhaps the most difficult role. His Alex must waver between friendship with Russell and attraction to Claire, while having to choose which political side he's on. Nonetheless, he brings them off persuasively. Still, I certainly don't envy Harris' thankless role as the unscrupulous opportunist, Oates. Apparently he thinks just being an American in a Third World country excuses everything.
Note in passing, the aerial leaflet drop, the only way, I suppose, the rebels have of mass communication since the government controls the media. And shouldn't overlook the two vintage rattletraps our journalists are stuck riding in. The tin jalopies get shot, cannonaded, slammed, and still they roll over debris strewn streets like real troupers. So, hats off to Detroit's finest!
Anyway, the movie's an expertly produced thriller of some depth. Too bad it's drifted into relative obscurity now that the political fires have lessened over time. One thing for sure—I'll bet Spottiswoode's film never screened in Reagan's White House.