A Navy navigator is shot down over enemy territory and is ruthlessly pursued by a secret police enforcer and the opposing troops. Meanwhile his commanding officer goes against orders in an attempt to rescue him.
Action/war drama based on the best-selling book detailing a near-disastrous mission in Somalia on October 3, 1993. On this date nearly 100 U.S. Army Rangers, commanded by Capt. Mike Steele, were dropped by helicopter deep into the capital city of Mogadishu to capture two top lieutenants of a Somali warlord. This lead to a large and drawn-out firefight between the Rangers and hundreds of Somali gunmen, leading to the destruction of two U.S. Black Hawk helicopters. This film focuses on the heroic efforts of various Rangers to get to the downed black hawks, centering on Sgt. Eversmann, leading the Ranger unit Chalk Four to the first black hawk crash site, Warrant Officer Durant who was captured after being the only survivor of the second black hawk crash, as well as many others who were involved. Written by
Matthew Patay: revised by Brady Schloz
None of the film was made in Somalia but in the similar looking cities of Rabat and Sale in Morocco. No Somali actors are included in the cast. Somalia then and today remains a dangerous and unstable country. See more »
In the Spanish and German versions, when Garrison and McKnight talk about Spectre gunships, the word "gunship" is translated as "helicopter." See more »
Black Hawk Down is first and foremost an immensely effective war film, but beyond that, its one of the most subtly differently made war films ever. Most war films usually either have a single hero through whom we see everything (i.e. Platoon), or present us with a squad of soldiers, all of whom are identifiable "types" (i.e. Saving Private Ryan). Black Hawk Down takes a different approach, instead giving us a very wide array of characters, none clearly singled out as a hero or type to command the audience's attention. The general effect is to create that feeling of a team army that George C. Scott so ardently expounded to us at the start of Patton. Furthering this feel of military professionalism, the film never cheapens itself by putting too much emotional weight into one moment. The plot moves ahead at a constant pace, cutting from location to location, without slowing down to focus too much on individual soldiers. The effect is of watching documentary footage of a real military operation gone wrong. While the effect of this scripting approach may produce some detachment among viewers on the first viewing, it makes the film all the better on subsequent viewings.
And you'd better believe there will be subsequent viewings, because Ridley Scott has created one of cinema's all-time great pieces of eye candy here. The editing, cinematography, grading, scoring and visual effects all combine to leave a viewer just as drained upon leaving the theatre as these soldiers were on leaving Mogadishu. The intensity of this film's combat is easily equal to Saving Private Ryan, and leaves such pretenders as We Were Soldiers behind in the dust. Black Hawk Down lacks the former's emotional resonance, but unlike the latter, it thrives on the fact, creating a final product as mind-challenging in its construction as it is mind-blowing its visualization.
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