This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.
This week, released on the weekend of April 7th, William Friedkin’s Rules of Engagement…
My question for William Friedkin in regard to this film is quite simple: did he steal the plot of Rules of Engagement from Star Trek: Deep Space Nine?
In that series, the character of the noble Klingon Commander, Worf, is tried by an extradition hearing after, during hostilities between the Federation and the Klingon Empire, he commands a vessel that fires on and destroys a civilian transport ship which he believes is a Klingon warship. That episode is called, yes… Rules of Engagement, and it aired just three short years before Friedkin’s film came to bear. Perhaps the original writer, James Webb, saw the episode, liked the title and premise, and ported them over. Stranger things have happened! Either way, Rules of Engagement probably shares this coincidence for the simple fact it treads a well-worn story in fiction, science-fiction, and any morality-based dramatic narrative.
Friedkin’s film, eventually written by studio-hired scribe Stephen Gaghan from Webb’s original screenplay—one of two films penned by Gaghan, the other being Steven Soderbergh’s Traffic at the end of the year, for which he would win an award—directly concerns the United States military and their own, titular, rules of engagement in a combat situation. Samuel L. Jackson’s Colonel Terry Childers, while leading a Marine squadron to evacuate an American diplomat and his family from an under-siege Yemeni embassy, orders his men to fire into a crowd of protestors, some of whom appear to have opened fire on his men. 98 men women and children end up slaughtered. Images make the front page of every global newspaper. And the US government want Childers’ head on a spike, forcing him to enlist his old friend—Tommy Lee Jones’ military attorney Hayes Hodges—to defend his honour.
What ends up happening is that the subject matter, and what it wants to say about modern American imperialism, is more interesting than Rules of Engagement turns out to be in execution as a film. Continue reading “RULES OF ENGAGEMENT: A military drama scared to face its demons (2000 in Film #14)”