The Order, directed by Justin Kurzel is a gripping crime film bearing the Italian meaning of ‘The Order’, as portrayed by the protagonist Decenzo, comes across as highly engaging. It, however, presents disconcerting themes as the movie is based on real-life events which date back to the 1980s. The film follows the journey of the undercover FBI agents as they infiltrate a gang of neo-Nazis based in the Pacific Northwest threatening to break into various banks complaining about their troubles financing their extreme beliefs. While everything that has been stated so far should not be shocking, it’s an unfortunate reality. The reality is such, that the antagonist’s dialogues throughout the movie can be easily correlated to today’s daily news cycle or a Hollywood blockbuster; time runs slow for the movie as it fails to amaze the viewers or provide any novelty. What truly makes the film compelling and controversial is the intelligent manner in which the movie progresses and unfolds; we see the shift in focus, away from the stereotypical American gangster to a more intriguing cast which leaves the audience awestruck. The Order is like a Heath but a novel’s edition, for all the discomfort it bears.
In this scenario, the character that resembles a cat is undoubtedly Terry Husk, an enraged and embittered FBI agent played by Jude Law. Law’s character is a violent one who spends most of his time running after criminals and for whom the past seems to haunt him as he struggles with family issues and is an active alcoholic. He also has a surgery scar for herbs, making him look rugged and tough. The role Ideally depicts how Husk’s obsession with criminal images takes a toll on him physically, before arriving in town. Surprisingly Law nailed the performance with an impressive moustache and managed to avoid any hatred towards him that would generally be associated with him by nudging subconscious damage into the character He takes up. Law’s performance can be called Explosive as it perfectly muscles Houston DIMLY and Borke as Bob Matthews, a farmer with the heart of a fascist who goes to the extremes of Zionism. Matthews is defined as easygoing, connected, and observant signifying proper mental development that may narrate how he goes on to marry not one but two. Two wives he is married to because one can’t have kids making the other one who is pregnant an affectionate mistress. This portrayal of Bob was carried out by Hoult who had a strong, bright, and convincing screen presence. He stirred a lot of tension in the film due to being methodical.
When looking into those chilly blue eyes, one can see people following him but also keep wondering if he is about to blow someone’s head off. Maybe the two attributes are not as far apart as they seem.
Here, we are going to discuss the dichotomy that’s quite prevalent in the majority of cops-and-robbers films. While casting their eyes on their appealing prey, the anguished hunters allow their lives to go into shambles. The efforts by Husk are aided by Tye Sheridan who plays the role of Jamie Bowen, a youthful, enthusiastic, and local cop who is familiar with some of their catches. The film takes a different direction as it depicts how he adored his family but eventually became an obsessed single parent who happens to be a spy. On the other hand, those being hunted not only do not appear phased by the world, but they have a rebellious attitude towards it. This again, is a pattern that we’ve observed in other movies. Robert De Niro as the unfortunate assassin in Heat is quite masculine and can be considered attractive; we believe we can afford to indulge ourselves a little in becoming him. But only a crazy person would like Bob Mathews and his merry band of psychos to get away in The Order — we wish for Husk & Co to get their hands on them — so even a slight applicable trait becomes an awful apprehension. That disparity between differing thoughts, or cognitive dissonance, is what makes the film enthralling, and disturbing at the same time.
The Order was a real organization. Members executed one of their own for speaking to cops in the early parts of the film. Later, in the depicted setting of late night, they would listen while the host of the talk show that they considered a liberal Jew, Alan Berg, to which none of them liked (and which some members of the order would later shoot in 1984, a murderous plot that would eventually influence Eric Bogosian and Oliver Stone’s 1988 movie Talk Radio). “All I can say is that you are all too stupid to make it in this world,” we get to listen to one of the goons-in-waiting while calling to the talk show and hurling abuse over to Alan Berg. Meanwhile, Bob can make sense of it and fit in. The Order is good because it shows us how an intelligent head could devise a strategy to turn these goons into a better-planned paramilitary force.
There have been other films over the years about the problem of domestic terrorism, and hate groups in America, right from Betrayed by Costa-Gavras which also was partly picked from the Order’s story, American History X, all the way down to Imperium that stars Daniel Radcliffe.
Paradoxically, all of them share the same obvious idea that the people in these hate groups are equally average in other respects. The Order attempts to be more than that; it portrays for us the danger that accompanies powerful leaders, as well as the destruction that they sometimes[/waiting for the evil to stop] obsessively pursue. Law and Hoult’s energies are just enough to let the movie be more than a gangster film; it slowly turns into an eternal conflict with far-reaching, societal implications. This is a film that captivates you.
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