| The Siege | |
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Theatrical release poster |
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| Directed by | Edward Zwick |
| Produced by | Lynda Obst Edward Zwick |
| Screenplay by | Lawrence Wright Menno Meyjes Edward Zwick |
| Story by | Lawrence Wright |
| Starring | Denzel Washington Annette Bening Tony Shalhoub David Proval Bruce Willis |
| Music by | Graeme Revell |
| Cinematography | Roger Deakins |
| Editing by | Steven Rosenblum |
| Distributed by | 20th Century Fox |
| Release date(s) | November 6, 1998 |
| Running time | 116 minutes |
| Country | United States |
| Language | English |
| Budget | $70 million |
| Box office | $116,672,912 |
The Siege is a 1998 American thriller film directed by Edward Zwick. The film is about a fictional situation in which terrorist cells have made several attacks on New York City. It stars Denzel Washington, Annette Bening, Tony Shalhoub, and Bruce Willis.
Contents |
The film opens with the bombing of a United States Army barracks in Saudi Arabia leading to both civilian and military American casualties. The U.S. blames a group led by Sheikh Ahmed bin Talal who is subsequently kidnapped and held under the watch of Major General William Devereaux.
FBI Special Agent Anthony Hubbard and his Lebanese-American partner Frank Haddad are told of a hijacked bus, fully loaded with passengers and containing an apparent explosive device. The bomb turns out to be a paint bomb and the terrorists manage to escape. The FBI receives warnings to release Sheikh Ahmed bin Talal.
Hubbard eventually comes into conflict with CIA officer Elise Kraft. Hubbard takes a terrorist suspect into custody and arrests Kraft. Afterwards another terrorist threat is made and a bus is bombed. When the FBI captures a man named Samir Nazhde he admits to signing the visa application of one of the suicide bombers in the course of signing many applications for student visas in his job as a lecturer. However, Kraft insists that Samir is not a terrorist and that his continued freedom is vital to the investigation.
The terrorist incidents begin to escalate. A crowded theater is bombed, a kindergarten is held hostage, and FBI headquarters is destroyed with over 600 casualties.
In spite of objections, the President declares martial law and the 101st Airborne Division, under Devereaux, occupies and seals off Brooklyn in an effort to find the remaining terrorist cells. Subsequently all young males of Arab descent, including Haddad's son Frank, Jr., are rounded up and detained in Yankee Stadium. Haddad resigns in anger. New Yorkers stage violent demonstrations against the army and the racial profiling of the Arabs and the Army fights to maintain control. There are reports of Army killings.
Hubbard and Kraft, now going by the name Sharon Bridger, continue their investigation and capture a suspect, Tariq Husseini. Devereaux kills Husseini in the course of the interrogation. Afterward, Bridger tells Hubbard that Husseini knew nothing of value because of the principle of compartmentalized information and, sickened, she finally tells Hubbard what she knows. It is revealed that she herself provided training and support to militants opposed to Saddam Hussein's regime. After the funding was cut, she took pity on the few of them who had not yet been slaughtered by Hussein's forces, and arranged for them to escape to the United States, ultimately leading to the present situation. She and Hubbard compel Samir to arrange a meeting with the final terrorist cell. Hubbard convinces Haddad that he needs his help and Haddad returns to the FBI.
A multi-ethnic peace march demonstrates against the occupation of Brooklyn. As the march is getting under way Hubbard and Haddad arrive at the meeting place, but Bridger and Samir have already left. Samir reveals to Bridger that he constitutes the final cell while in another sense he says, "there will never be a last cell." He straps a bomb to his body which he intends to detonate amongst the marchers. Hubbard and Haddad arrive in time to stop him leaving but Samir shoots Bridger in the stomach as she struggles to stop him. Hubbard kills Samir but despite their best efforts he and Haddad can only watch as Bridger bleeds to death.
Hubbard, Haddad, and other FBI agents, raid Devereaux's headquarters to arrest him for the torture and murder of Husseini. Deveraux insists that under the War Powers Resolution the authority vested in him by the President supersedes that of the court which issued the arrest warrant. He then commands his soldiers to aim their guns at the agents, resulting in a Mexican standoff. Hubbard reminds Devereaux that the civil liberties and human rights which he took from Husseini are what all his predecessors have fought and died for. Devereaux finally submits, and is arrested. Martial law ends and the detainees are freed, including Haddad's son.
Rotten Tomatoes gives the film a score of a 44% 'fresh' based on 59 reviews.[2]
Roger Ebert gives the film a score of 21⁄2 stars out of 4. He says that director Edward Zwick does a good job of the crowd scenes. He criticizes the film saying that although it is not intentionally offensive it is clumsy.[3]
The film grossed $40,981,289 in North America and $75,691,623 in other territories on a budget of $70 million.[4]
When the film opened, the American-Arab Anti-Discrimination Committee came out against the film. Its spokesman Hussein Ibish said "The Siege is extremely offensive. It's beyond offensive. We're used to offensive, that's become a daily thing. This is actually dangerous." He thought it was "Insidious and incendiary" because it "reinforces stereotypes that lead to hate crimes." Ibish acknowledged that Arab terrorists did, in fact, bomb the World Trade Center in 1993, but said that Arab and Islamic groups are upset by "the very strong equation between Muslim religious practices and terrorism. ...[Thanks to this film] Every time someone goes through the Muslim ablution, the ritual washing of hands everybody does before they pray five times a day, that image is the announcement to the viewer of the presence of violence." Echoing such criticism the Council on American-Islamic Relations protested that "In this film, the Muslims have total disregard for human life." The groups were "faxing and calling news organizations on a regular basis" to voice their concerns.[5][6]
Director Edward Zwick had met with Arab Americans, who suggested that the story be changed to mirror the aftermath of the Oklahoma City bombing, when Arabs were immediately assumed responsible. This idea was rejected. Zwick noted that The Siege's villains also include members of the U.S. government, and dismissed the criticism, saying, "Anytime you talk about issues that touch on religion of any kind, you can anticipate this kind of reaction. Should we only present every group as paragons and monoliths of virtue? The movie inspires to engender this kind of dialogue. I happen to come from the school that thinks that movies should not only make you uncomfortable, they might make you think. …You can anticipate any kind of reaction in these times in which sensitivity seems very high in the culture. I have a friend who says, if you've not offended somebody, you're a nobody. …How does it feel to be a lightning rod? It gets the blood going. I think it's better than being universally ignored. In a culture where there seems to be so much to talk about, it's good to be talked about."[5]
"What the movie is most deeply about—it's about our own latent possibilities of repression, stereotyping and prejudice," says Zwick. "To see Americans rounded up in the streets, to see Americans put into stadiums, to see people held without habeas corpus—to have their rights violated in such a way is such a chilling and just terrifying thing to see—that is what one takes away, I believe, from this film."[7]
In a September 2007 interview, screenwriter Lawrence Wright attributed the film's disaster at the box office to Muslim and Arab protests at theaters playing the film, but also claimied that it was the most rented movie in America after the September 11 attacks.[8]
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