STATE (2021)

Title: STATE

Year of Release: 2021

Director: Alain Nouvel

Genre: Drama, Suspense

Synopsis: Two war veterans, one a young man, the other his grandfather, have an explosive encounter at the latter man's home which leads to tragedy.

Within a film history context: Movies which explore post-traumatic stress disorder (PTSD) as a result of military participation have been around for many years onscreen. One of the first was William Dieterle's THE LAST FLIGHT (1931). Young veterans from World War I spend their time whiling away time in Paris, drinking excessively to dull their pain, and become involved with a woman, among their exploits. William Dieterle also directed another film about PTSD, being I'LL BE SEEING YOU (1944), this time, with an American setting. In this movie, a man suffering from shell shock falls for a woman just released from prison to spend time with family at Christmas, but her past may get in their way in this sentimental romance. Edward Dmytryk's TILL THE END OF TIME (1946) concentrated upon several World War II veterans, and the difficulties they faced in coming to terms with their lives as civilians. One of the most famous films dealing with returning veterans was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. A touching exploration of veterans, and their return to society, albeit with great hurdles, it was one of the highest-grossing films of the decade, and a triumph for all involved. Anthony Kimmins' MINE OWN EXECUTIONER (1947) featured a character who suffered from psychological trauma after being trapped in a Japanese prisoner of war camp. 

At the beginning of the 1950s came one of the most famous films dealing with PTSD, being THE MEN (1950), directed by Fred Zinnemann. Dealing with a World War II army veteran who lost the use of his legs after being shot in the spinal region, and his relationship with his fiancée, it gave Marlon Brando a meaty part as the young veteran. Another closeup of emotional issues caused by war could be found in Fred Wilcox's SHADOW IN THE SKY (1952). Here, a man has been placed in a mental facility as his psychological issues have taken over his life, but his return to society is successful in the end. 5 AGAINST THE HOUSE (1955), directed by Phil Karlson, had a character who suffered from PTSD after his stint in the Korean War. Richard Thorpe's TIP ON A DEAD JOCKEY (1957) showed how a man who fought in the Korean War experienced PTSD, manifested in his behaviour, such as divorcing his wife, and falling into drink and gambling. The real-life story of American Indian Marine Ira Hayes was dramatized in THE OUTSIDER (1961), directed by Delbert Mann. In this film, Mr Hayes' depression after serving in the Marine Corp during the Iwo Jima battle, and subsequent alcoholism were spotlighted, with Tony Curtis in the lead role. A rare film dealing with PTSD was Bobby Davis' A TORN PAGE OF GLORY (1968). Concentrating upon the problems of Vietnam veterans, and the emotional upheaval they experienced, it was mainly notable for starring Aldo Ray in the central role. As with the 1960s, the 1970s had varied types of films with carefully-drawn PTSD characters.

A central character in RYAN'S DAUGHTER (1970), directed by David Lean, in this case an Army Major from World War II, suffered PTSD in the form of flashbacks to his time in the trenches. A Vietnam veteran with major psychological issues causes untold problems in John Guillermin's SKYJACKED (1972), including an unending hostage crisis. One of the most trenchant depictions of PTSD in film was captured by TAXI DRIVER (1976), directed by Martin Scorsese. In this movie, a disturbed Vietnam veteran drives taxis for a living, and the audience is taken through the odyssey of his life, his shattered state of mind drawn with precision for the viewer. PTSD from serving in Vietnam was also explored in John Frankenheimer's BLACK SUNDAY (1977). A man suffering from PTSD after being a prisoner of war becomes involved in terrorist activity in this taut thriller. ROLLING THUNDER (1977), directed by John Flynn, also had a character plagued by PTSD. A Vietnam veteran returns home, his family subsequently killed, but he exacts his revenge in a methodical manner, the stigma of war still fresh for him in this suspenseful movie. Hal Ashby's COMING HOME (1978), presented PTSD in an intensive manner, with two characters going through this after having served in Vietnam, a study in contrasts and mindsets. Similarly potent was THE DEER HUNTER (1978), directed by Michael Cimino. In this instance, three characters who have done a tour of duty in Vietnam are compared, particularly their emotional states, in this financially successful but controversial, movie. 

Segueing into the 1980s, there were plenty of movies featuring characters with PTSD from military activity. William Peter Blatty's THE NINTH CONFIGURATION (1980) had a mentally disturbed Vietnam veteran, whose unstable recollections and flashbacks caused much mayhem in the narrative, and as head of a mental health facility, encouraging patients to act upon their wildest thoughts. In comparison FIRST BLOOD (1982), directed by Ted Kotcheff, began the blockbuster film franchise which told the story of a Vietnam veteran who unwittingly became enmeshed with unsavoury characters. He goes on the run as a fugitive, being pained by PTSD along the way. Andrei Konchalovsky's MARIA'S LOVERS (1984) was the sensitive story of a man returning home after being a prisoner of war in a Japanese camp during World War II. He finds things have changed greatly at home; his first love is now with another man, and the road back to her is complicated by his PTSD, and memories of his harsh experience in the camp. BIRDY (1984), directed by Alan Parker, was another movie that contrasted the aftermath of Vietnam veterans in a different manner. While one veteran is mentally well, the other has emotional issues, always wanting to become a bird, their friendship tested on many levels when they return home. In a decidedly exploitation vein was Buddy Giovinazzo's COMBAT SHOCK (1984). A Vietnam veteran with severe PTSD has an horrendous time trying to find work, his mental state and messy personal life exacerbating his despair, leading him to commit heinous acts. In CEASE FIRE (1985), directed by David Nutter, the pressures of life, including employment issues, and recollection of Vietnam make a veteran's life a living hell, almost ending his marriage in the process.

Erik Jacobson's FURY TO FREEDOM (1985), marked the real-life journey of Paul Ries, Vietnam veteran who suffered mightily from PTSD, with violent tendencies, but one day was inspired to find the strength to rebuild his life through religion. A MONTH IN THE COUNTRY (1987), directed by Pat O'Connor, charted the lives of two emotionally-delicate World War I veterans, and their recuperation while carrying out work in a country church. Gilbert Cates' BACKFIRE (1988) mined similar territory with CEASE FIRE in the form of a Vietnam veteran with PTSD,  but this time with an unfaithful wife, and a psychotic man after his wife. DISTANT THUNDER (1988), directed by Rick Rosenthal, was not only notable storywise for its PTSD-plagued Vietnam veteran character, and his efforts to connect with his teenage son, but also, its miniscule box office take. More vigorous, but also inspirational, was David Jones' JACKNIFE (1989). Following the lives of two Vietnam veterans suffering from PTSD, and their interpersonal relationships, colored by their war experiences, it was a showcase for Robert De Niro, and Ed Harris in the main roles. A Korean war veteran was the focus of CHATTAHOOCHEE (1989), directed by Mick Jackson. In this film, based upon a true story, a man causes harm to himself, and is committed to a mental facility, where he discovers stunning inequities and crimes occurring in the hospital by doctors, and staff members. Oliver Stone's BORN ON THE FOURTH OF JULY (1989) was one of the most famous of the real-life stories about a Vietnam veteran. Based upon the life of Ron Kovic, who was paralyzed in the Vietnam war, it was a critical and financial success, and gave Tom Cruise one of the best roles of his career. Into the 1990s, more films about PTSD war veterans appeared on screen, albeit less in quantity.

In a more suspense vein was JACOB'S LADDER (1990), directed by Adrian Lyne. A Vietnam veteran is caught in an emotional web and tug-of-war with himself, and life. A thoroughly different spin on the theme was served up by W. Blake Herron's SKIN ART (1993). A Vietnam veteran has an uncommon occupation for the genre, being a tattoo artist, but his emotional issues are still present for him, which cause him setbacks. The touching THE WAR (1994), directed by Jon Avnet, had a Vietnam veteran released from a mental health facility, and the difficulties he encounters gaining employment due to his time in the hospital. Marleen Gorris' MRS DALLOWAY (1997) included a small PTSD component within its structure, with a World War I soldier suffering mightily from mental problems, and taking his life, unable to control his memories of war. The 2000s also spotlighted varied depictions of PTSD for audiences. 

PTSD from military participation is also given a workout in THE HUNTED (2003), directed by William Friedkin. This time around, a United States Army Sergeant is in distress after serving in the Kosovo War, this experience leaving a heavy emotional toll. The trials and tribulations of returning to civilian life were explored in Irwin Winkler's HOME OF THE BRAVE (2006). The lives of three American soldiers who had done a tour of duty in Iraq are contrasted, one of these being a female Sergeant, and the obstacles they faced in attempting to find normality in their everyday lives. As with HOME OF THE BRAVE, STOP-LOSS (2008), directed by Kimberly Peirce, also dealt with veterans of the Iraq War, with one of the two soldiers in the narrative exhibiting signs of PTSD in his behavior, while the other was more philosophical in character. PTSD is also examined in detail in Hunter LeMoine's SAM'S RAIN (2009). The return home of a war veteran from Iraq is not as cut and dry as expected, with his psychological issues manifesting themselves in his everyday life, despite being well-received by family and friends. With BROTHERS (2009), directed by Jim Sheridan, a United States veteran from the Afghanistan mission, once presumed dead, returns to his life, and goes on a downward spiral, mainly due to his part in a fellow soldier's death. Unlike the 2000s, the 2010s had many more movies dealing with PTSD from being in the military.

A more positive view of PTSD was present in Ryan Piers Williams' THE DRY LAND (2010). A young veteran returns home from serving in Iraq, and finds solace with a old army friend, but still feels out of place. IN OUR NAME (2010), directed by Brian Welsh, was about a female soldier who has come back from Iraq, how her mental state affects her marriage, and also, relationship with her daughter. With Christopher Martini's TROOPER (2010), contrasts are drawn between two veterans, in this case, of a father and son who had both served in the military at different times, being the Vietnam, and Iraq Wars respectively. HAPPY NEW YEAR (2011), directed by K. Lorrel Manning, focused on an Iraq War veteran who at first finds happiness with fellow veterans in a hospital, but their contentment is short-lived, as their war experiences come back to severely haunt them. Another account of veteran displacement at home was Jeff London's A WARM WIND (2011). An Iraq veteran with both mental, and physical issues finds difficulties as he is misunderstood by his closest and dearest, but is cared for by his cousin. 

THE LUCKY ONE (2012), directed by Scott Hicks, focuses on a veteran with PTSD, and his family, and romantic problems. A World War II Marine veteran was the protagonist of Paul Thomas Anderson's THE MASTER (2012). The veteran in this case not only suffered from PTSD, but also drank to excess, indulged in sexual activity, and became involved with a man from a religious cult, in turn showing the veteran's vulnerability. A World War II British soldier is hampered by PTSD after being held captive by the Japanese in THE RAILWAY MAN (2013), directed by Jonathan Teplitzky. The movie shows how his psychological trauma has continued for many years after his ordeal, and is heightened when he discovers his torturer is still alive. The story of soldier Chris Kyle was dramatized in Clint Eastwood's AMERICAN SNIPER (2014). Following the Marine's four tours of duty in Iraq, his subsequent PTSD, and personal life, it was a profitable film, and offered Bradley Cooper a standout part in the lead role. Challenging in tone was AN ACT OF WAR (2015). directed by Ryan Kennedy. A veteran who has served in the Middle East returns home, finding work in a cinema, but his desperation leads him into dangerous situations that only heighten his psychological problems. Danny Buday's BATTLE SCARS (2015) was like AN ACT OF WAR, in this instance the veteran was from the Afghanistan war, but also become enmeshed with brutal people and activities, not assisting the healing of his PTSD. 

With BILLY LYNN'S LONG HALFTIME WALK (2016), directed by Ang Lee, a young Iraq War veteran is haunted by his experiences during the war, and how these colour his everyday life as a civilian. In a more period vein was Dee Rees' MUDBOUND (2017). The movie posits oppositions between two World War II veterans, one white, one black, and charts their friendship when they return home to Mississippi, one suffering from PTSD. A contemporary take on matters was on show in THANK YOU FOR YOUR SERVICE (2017), directed by Jason Hall. Several Iraq War veterans suffering from PTSD are not only haunted by the past, but have to endure the present tenuous circumstances of their lives. Paul Cook and Carmel Hannant's British film MAGPIE (2018) was about the effect a World War II veteran's PTSD had on his marriage, and his wife's relationship with an American soldier. Related, but at the same time contrasting was Max Martini's SGT. WILL GARDNER (2019). Again looking at PTSD through the eyes of an Iraq War veteran, this film had its titular character take to the road on a motorcycle to reunite with his young son, and mend fences with his family. STATE was reminiscent of many of the PTSD-themed movies of military personnel, and the consequent emotional war wreaked on their protagonists, but possessed its own unique traits.

It shared that thoroughgoing focus of the effects of PTSD on its characters, such as in the movies TILL THE END OF TIME, THE MEN, COMING HOME, and THE DEER HUNTER, to name a few examples. The vast majority STATE is devoted to talk about war, particularly with reference to the grandfather character. Where it diverted was in the extremely small number of characters whose PTSD was placed under the microscope, being two, with only one other main character. This has the effect of making STATE even more rigorous in its execution of PTSD themes, as the film itself is short, and no time is spared on minor details, incidents, or characters. While, in one way. the lack of extra characters means there are no alternate events with which to compare the brooding story of the grandfather and his grandson, it works as a tight, consuming narrative. A creditable foray into a subject that has received vast coverage in cinema, STATE works well despite its limitations, in particular, its brief running time.

Overview: STATE is the film directorial debut of Alain Nouvel, who has credits in various areas such as producing and sound. As this is the first film for Mr Nouvel, and there is no other movie with which to compare it, a review concentrating on STATE will follow. In essence, STATE is a sound picture that moves quickly, and is compelling to watch. Mr Nouvel has made a film that possesses a definite atmosphere of suspense, with good pacing, and a foreboding sense of doom that works. Despite the film's short running time, Mr Nouvel has succeeded in fashioning a movie that keeps the attention from beginning, to end, and contains a good flow of narrative events. In saying this there are, though, issues with the film which did stand out, and lessen its effectiveness.

There are a number of confrontation scenes between the characters, and these are heated and explosive. In these powerful scenes, the use of a certain expletive was extremely distracting, and overused. There was the hope that other words could have been utilized to offer some variety in terms of the dialogue, but this never happened. Having swear words spoken at a frequent clip took away from the tense mood the film was attempting to build. There is another issue with the film which seemed discordant when taking the whole movie into account. The young woman in the movie was, essentially, problematic as a presence. It felt as if she only existed for the sex scene between her and the young man, which, any which way, was out of place in the film. In addition, this sequence did not explore much between them; a compelling dialogue exchange would have been better, enlightening the viewer about their relationship. This tendency is also reflective of other parts of the film which could have been fleshed out better, as they left questions open that needed answering.

While the movie is brief and there is not sufficient time to explore everything, it left a number of questions unresolved. The nature of the relationship between the young man and woman, as stated earlier, such as how long they knew each other, was not addressed. In addition, her relationship to his grandfather, and why was she so affected by his passing at the end, did not receive attention. The older man, and the younger woman never shared a scene together, yet she was in the young man's arms at the end, consoling him. Other burning questions were also posed by the film. How long the young man was in the military, finding out more about his post-traumatic disorder, and why he was so annoyed by his grandfather, would have clarified these interactions. As things stand, it left the viewer both intrigued by its ellipses but also, dissatisfied. In the final analysis, STATE was a good film. The director, Alain Nouvel, exhibits a style which is individual, and knows what makes a good story. It would be interesting to see more from Mr Nouvel, albeit in a longer format, as there is the sense with this film that it was too truncated in nature. A film of greater length would allow for a fuller exploration of the feelings, and emotions of his characters that Mr Nouvel has proven with proficiency in STATE.

Acting: The film has a small cast of three actors, but they ably provide the viewer an engaging experience. In the lead role of the young man returning from armed combat, Patrick Cragin is excellent. His intensity, and ability to say so much in a non-verbal manner with his face, body language and, especially, his eyes, makes him a compelling performer. One could easily discern that he was a veteran with PTSD judging from his actions, such as when the young woman attempts to feed him, and he initially flinches at this. As the young man's grandfather, Myles MacVane is equally adept as expressing emotions without having to utter a word. His slow actions, filled with thought and angst, and confrontations with his grandson are the scenes in the movie that are the most memorable. The young man's girlfriend, played by Courtney Sturm, does a creditable job, even though her role is small, and character somewhat unsympathetic at times. Lurching from passion to anger to confusion, with some quiet moments at the end, Miss Sturm is convincing as the kittenish young woman.

Soundtrack: STATE has an effectively creepy soundtrack, consisting of background music that sets a mood of gloom and doom from the first frames. Aside from this, there is also an effective use of songs, especially the beautiful 'Les Feuilles Mortes' performed by Yves Montand. This particular song gives the final scenes a lushness, and the entire film an unexpected aura of release from its heated emotions.

Mise-en-scene: STATE is beautifully shot by cinematographer Toby Petch, the color restrained, and not bright, which complements the dark nature of the film. Outdoor settings are well-utilized, particularly the scenes in the street where the young woman plays games with the young man's backpack during the evening. The most prominent interior setting, being the older man's house, is concentrated upon the living room, where the majority of the action occurs. The spare lighting in the room, with only a television set on, and a flickering fireplace, work in a metaphoric manner, denoting the heady emotions in play in these scenes, and the movie in general. One of the most interesting scenes was the final few that featured a subtle use of colour, specifically highlighting the trees and landscapes of the filmic milieu. The colour here was a contrast to the majority of the film, where the feel was dark and unsparing. In these sequences, there was the intimation that a new beginning was in store for the characters, and their lives, in consequence, would be rosier than their past haunting experiences.

Notable Acting Performances: Patrick Cragin, Myles MacVane, Courtney Sturm.

Suitability for young viewers: No. Frequent coarse language, brief female nudity, adult themes, medium-level violence.

Overall Grade: C

Link: IMDB Page

Trailer