‘Blood Diamond’ doesn’t cut it
Film tries to expose the true cost of bling, but doesn’t pay off
By Kenya Vaughn
Of the St. Louis American
“People back home wouldn’t buy the rings if they knew it cost someone else a hand,” said Maddy Bowen, Jennifer Connely’s character in the film Blood Diamond that opens in theatres tomorrow.
Her role as a journalist who tries to expose the atrocities against humanity in the West African diamond trade is symbolic of the purpose of the film, which is directed by Edward Zwick. Amidst the fluff and arbitrary war stories that are distributed around the globe, Bowen longs to give the reader something real – a piece that will spar her readers into action.
The irony is that the reality the heroine searches for and finally delivers to the masses on screen seems completely missing from Blood Diamond. From all of the convenient happenstances that bring the characters together, the bloody and gory journey through war-torn Sierra Leone to the happily-ever-after ending is unbelievable at best.
The film begins with Solomon Vandy, played by Djimon Hounsou, a Mende fisherman being forced by rebel soldiers to mine diamonds. When he stumbles across an enormous pink diamond, his discovery triggers a chain of events that lead individuals with separate agendas within the illegal diamond trade industry to work together in accomplishing their own particular mission.
Vandy must deliver the stone to the rebels who have kidnapped his son. Danny Archer, a white former mercenary with the South African army played by Leonardo DiCaprio, relies on the black-market diamonds for his livelihood. The pink diamond superscore would be his ticket out of the cutthroat business and into retirement. The journalist Bowen is along for the ride as part of her relentless quest to expose corporate entities for their role in the slaughter that is taking place.
There is a mismatch of chemistry among the leads. While Hounsou’s Vandy is full of emotion (at times more so than necessary), Connely’s Bowen is one-dimensional and predictable. DiCaprio’s Archer is somewhere in the middle. Although his appearance in the film as an ally with a black man and a journalist who could put his character out of business (and possibly get him killed) was intended for commercial appeal, he seemed most connected (and, when necessary, disconnected) to the role.
Those looking for action, blood and guts will get it. Anyone looking to know more about the source of the violence and civil unrest may walk away with more questions than answers.
Although Blood Diamond is lacking in storyline and overall substance, the film has some good points and unique qualities. The effort of screenwriters Charles Leavitt and C. Gaby Mitchell to venture into the unchartered territory of Africa’s conflicted diamond business deserves recognition.
The film even touches upon the tragedy of child soldiers. It briefly illustrates the effects that the trauma has on the psyche of young victims who are snatched from their families and forced to maim and murder.
The idea of exposing film audiences to the tragedies of the African diamond industry is poignant, but for all its noble intentions Blood Diamond comes across as just another Hollywood tale.
Just like the smugglers, traders and corporations involved in the brutal black-market diamond industry, Blood Diamond gives the vibe of yet another attempt to profit from the blood, sweat and tears of the people of Africa.
Blood Diamond opens in theatres nationwide on Friday, December 8. The film is rated R with a running time of 138 minutes.
