Emily Blunt Hopes 'Sicario' Brings About 'Great Discussion'

Colin Covert
Star Tribune (Minneapolis) (TNS)

“One of the strongest themes in this film is these cycles of violence,” Blunt said. “And is that necessarily the solution — to meet violence with further violence?"


Director: Denis Villeneuve
Cast: Emily Blunt, Benicio Del Toro, Josh Brolin, Victor Garber, Jon Benthal, Daniel Kaluuya, Jeffrey Donovan, Raoul Trujillo, Julio Cesar Cedrillo, Maximiliano Hernandez
Rated: R
Studio: Lionsgate
Year: 2015
US date: 2015-10-08 (General release)

After more than a decade starring in comedies and love stories, Emily Blunt has become the fatal female of choice recently for clever, fresh summer blockbusters. The English beauty was a shotgun-packing single mom in 2012’s time travel thriller “Looper.” She was Tom Cruise’s first choice to play a steely supersoldier in last year’s sci-fi war film “Edge of Tomorrow.” Each time she delivered sharp lines and solid scenes as effective as body shots.

Her newest role takes her into panic territory and beyond. The white-knuckle crime thriller “Sicario” puts her in the midst of a brutal turf war in the no man’s land around the U.S.-Mexico border. It is, she says, the most socially important film she has made.

“That’s what I want,” Blunt said in a recent phone conversation, “and I think it’s a film that will cause great discussion.”

“Sicario” (Spanish for hit man) is connected to pain in each scene, sometimes bloody, sometimes heartbreaking. Blunt plays an idealistic Arizona-based FBI agent who leads a kidnap response team. Drafted into a classified federal operation against vicious Mexican drug cartels, she enters a world that is incoherent to her. Co-stars Benicio Del Toro and Josh Brolin play her ruthless supervisors, breaching the border with secret raids to exterminate the enemy. Blunt’s character constantly struggles to do the right thing in a war where moral certainty doesn’t seem to exist.

It is a barren view of ongoing havoc. Blunt said she hopes it will cause audiences to carry away an attitude of “questioning their own moral compass. And what they think is the best way to deal with such an impossible issue” as how wars on terror inflame terrors of their own.

“One of the strongest themes in this film is these cycles of violence,” she said. “And is that necessarily the solution — to meet violence with further violence? I think that is the question that this film poses to the audience. It doesn’t give an answer.

“It asks you to ask that of yourself. It’s quite confronting in that way.”

“Sicario” is not for a moment a civics lecture, said Blunt, a clever, lively conversationalist who is far from stuffy or staid even on serious subjects.

“It was a quite spare, minimalistic, claustrophobic film,” she said. “And we actually cut a lot more of the dialogue that was in the already spare script” by actor and screenwriter Taylor Sheridan. Director Denis Villeneuve “is all about the power of suggestion,” and cinematographer Roger Deakins’ widescreen lensing “shoots things in the most emotional, mood-infused way,” allowing the cast to be more quietly internal than conversational.

The mysterious aims of the controlling characters keep viewers anxiously looking for clues, adding a rich element of suspense. “The audience is not patronized with this film,” she said. “I think they are as in the dark as your lead character, and I think that’s really refreshing. You have to do your best to keep up with the film.”

Blunt considers most scripts “so overwritten with so much excess baggage that the actors have to just make it work most of the time. There are scenes that are very hard to do when you feel it’s strictly expository. You feel so grateful not to have to explain everything.”

Blunt was delighted to work with Deakins, one of the industry’s most admired cameramen, whose work includes “The Shawshank Redemption,” “Skyfall” and “No Country for Old Men.”

“Anytime you see his film, you know it,” she said. “It’s just quite singular. They just glow and transport you in a really sort of tense and confronting way. His shots are beautiful but always quite arresting. It’s certainly not paint by numbers.”

Villeneuve works with his individualist signature as well, Blunt said, helping her create a character who finds the line between right and wrong growing blurry. Her dimming view of morality is echoed in a nightmarish chase where she wears night vision goggles while racing through unlit subterranean tunnels leading to a drug gang’s Mexican nerve center.

“We actually did shoot in pitch black,” she said with a laugh. “And I thought, ‘Oh, great, we’re going to be given night vision goggles. This is so awesome.’ And then we were handed our fake eye vision goggles. We were effectively just wearing an eye patch. So you were even more unstable on your feet. That maze of tunnels they built was quite challenging as well. Everyone was just bent over the whole time for a week.

“I fell outside and landed on sand, so that was OK. People banged their heads a few times, so there were bleeding heads. Specifically, for somebody as tall as Benicio, the tunnels were a nightmare. I think he had to go see a chiropractor after that scene!”

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

Keep reading... Show less

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

Keep reading... Show less

The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

Keep reading... Show less

If space is time—and space is literally time in the comics form—the world of the novel is a temporal cage. Manuele Fior pushes at the formal qualities of that cage to tell his story.

Manuele Fior's 5,000 Km Per Second was originally published in 2009 and, after winning the Angouléme and Lucca comics festivals awards in 2010 and 2011, was translated and published in English for the first time in 2016. As suggested by its title, the graphic novel explores the effects of distance across continents and decades. Its love triangle begins when the teenaged Piero and his best friend Nicola ogle Lucia as she moves into an apartment across the street and concludes 20 estranged years later on that same street. The intervening years include multiple heartbreaks and the one second phone delay Lucia in Norway and Piero in Egypt experience as they speak while 5,000 kilometers apart.

Keep reading... Show less

Featuring a shining collaboration with Terry Riley, the Del Sol String Quartet have produced an excellent new music recording during their 25 years as an ensemble.

Dark Queen Mantra, both the composition and the album itself, represent a collaboration between the Del Sol String Quartet and legendary composer Terry Riley. Now in their 25th year, Del Sol have consistently championed modern music through their extensive recordings (11 to date), community and educational outreach efforts, and performances stretching from concert halls and the Library of Congress to San Francisco dance clubs. Riley, a defining figure of minimalist music, has continually infused his compositions with elements of jazz and traditional Indian elements such as raga melodies and rhythms. Featuring two contributions from Riley, as well as one from former Riley collaborator Stefano Scodanibbio, Dark Queen Mantra continues Del Sol's objective of exploring new avenues for the string quartet format.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.