Warriors' Women (review)

FILM REVIEWS The War of the Filibusters is a disappointing Costa Rican documentary on the efforts of a small group ofAmerican mercenaries led by the infamous William Walker to control Nicaragua in the mid-nineteenth century. From a confusing introduction in which the film unsuccessfully attempts to explain the complex web of great power interests and rivalries in Central America, it goes on to concentrate largely on the various battles between Central American armies and the Filibusterers. The point of these descriptions appears more closely related to glorifying the exploits ofthe Costa Rican army than to providing any sort ofhistorical context for the warfare itselfor for the interests and intents of the Filibusterers. Despite the director's varied and free use (without citation) of numerous clips from early Hollywood films, period drawings and staged scenes, all of which might suggest some interesting possibilities for documentary film making, the confusing script, monotonal narration and presentation of material out of context make for a rather boring experience for the viewer. (27 m., CRM/McGraw-Hill, $45 rental, 16mm and Video) Steve Stein, Department of History University of Miami Warriors' Women is a straightforward and earnest documentary that deals with the psychological damage inflicted by the Vietnam War not only on veterans but also on their families. Altogether, the marital problems of five couples are presented, and range from an opening interview with a reasonably well adjusted but still troubled husband and wife, to a closing interview with a woman who divorced her emotionally crippled husband only to face the guilt of his subsequent suicide. Their stories are harrowing and their pain is frequently palpable, but unfortunately the film itselfis neither insightful nor eloquent in portraying their plight. The filmmaker has not risen above the restrictions oflimited resources, and the film suffers both from a lack of cinematic expressiveness (the sound, camera work, and editing are onlyjust adequate), and from a narrowness ofscope (for example, all ofthe interviewees are white residents ofVermont). Most crucially, the film fails to create a sense ofcontext, oflarger issues, or even ofinternal interrelationships. The individuals interviewed stand alone, unaided by a vision broader than that oftheir own damaged lives. The raw emotional power of their personal anguish would no doubt be effective in generating discussion within a veterans' group audience, but for general audiences or for those concerned with historical analysis, the film is likely to prove disappointing. (27 minutes, 1 6mm, color, available from Dorothy Tod Films, 20 Bailey Avenue, Montpelier, Vermont 05602) Jed Dannenbaum Five Point Films, Inc. Atlanta, Georgia 17 ...