An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African-American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis.
Inspired by true events, Kathy (Rachel Weisz) is an American police officer who takes a job working as a peacekeeper in post-war Bosnia. Her expectations of helping to rebuild a devastated country are dashed when she uncovers a dangerous reality of corruption, cover-up and intrigue amid a world of private contractors and multinational diplomatic doubletalk. Written by
Rachel Weisz essentially shadowed Kathryn Bolkovac to get to know her subject intimately. As the two share very few physical characteristics, Weisz concentrated on aping Bolkovac's mannerisms. See more »
I have to get home. Mama's gonna kill me.
No. You are staying with me tonight. Roman wants us there at nine in the morning. Raya, we've been over this. It's just a few months working in a hotel.
You want to work at a Copyshack like your mother? He said it was both of us or nothing!
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The Whistleblower (2010) is a movie based on the sad but true story of human trafficking by the employees of a firm contracted by the UN to provide security in Bosnia after the Dayton peace accord that put an end to the bloody conflict in the Balkans. Rachel Weisz plays Kathryn Bolkovac, a cop from Nebraska, who arrives in Bosnia to work for this firm and is seconded to the gender-affairs department. Weisz sees the stint as a much needed change of scene leaving behind a broken marriage, plus as an opportunity to improve her financial position given the compensation that comes with such a hardship-posting.
The times are tough and the residues of communal hatred still linger - one situation shows the apathy of the local policemen towards a victim of domestic-abuse given that she is from the "other side". Weisz stumbles upon a racket of human trafficking that lures young girls into slavery who are abused by ruthless sadists -- all with the active connivance and involvement of some employees of the firm. Wiesz lone voice is silenced by the firm -- despite the support she receives from a plucky UN officer for gender-affairs, played by Vanessa Redgrave.
Eventually, Rachel takes the sordid story, of protectors who have turned predators, to the media in the UK, where the firm is registered.
Fighting workplace conspiracy that is fueled by apathy and greed can be lonesome and Wiesz portrayal of a gritty professional is engrossing. One is reminded of the roles of Julia Roberts in Erin Brokovich (2000) and Laura Dern in Damaged Care (TV 2002), standing up for what is right despite being stymied by the perpetrators whose acts have the undertones of gender-bias, and suffering the indignation while staying the course with deep conviction.
The movie is spartan in production-value, driving home the truth that a good script and great performances are more than enough to tell a story.
The story makes one wonder of the risks that arise out of the involvement of private enterprises in security and policing, notwithstanding the mandates under which they operate.
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