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Observing Alienation In ‘Blue Caprice’ and ‘The Invader’

Observing Alienation In 'Blue Caprice' and 'The Invader'

It was last month in history (specifically, beginning on October 2 and lasting through October 24), in the year 2002, when the so-called Beltway sniper attacks happened, lasting over a 3 week period, in  D.C., Maryland and Virginia.

It was later learned that the rampage was perpetrated by John Allen Muhammad and Lee Boyd Malvo, driving a blue 1990 Chevrolet Caprice sedan; they apparently begun their killing spree a month prior, with murders and robberies in Louisiana and Alabama.

Authorities arrested both men after the series of shootings that killed 10 people and wounded 3. Muhammad was sentenced to death in Virginia, and life in Maryland. Malvo received a life sentence in both states.
Malvo is currently serving 6 consecutive life terms without the possibility of parole. John Allen Muhammad was executed by lethal injection in November 2009.

A 2013 film based on the tragedy, titled “Blue Caprice,” which stars Isaiah Washington as John Allen, and Tequan Richmond, best known for TV’s “Everybody Hates Chris,” as Lee Boyd Malvo, became available on Netflix 4 days ago, November 14.

I thought I’d revisit “Blue Caprice,” along with a another film that I’d consider a thematic kin in “The Invader,” a Belgian drama feature directed by Nicolas Provost, which was also released in the USA in 2013 – both featuring black male lead characters, who are both alienated (whether by choice or by circumstance), and whose alienation feeds destructive behavior. 

A difference between the two is that, one (John Allen Muhammad, as played by Isaiah Washington) wants to be even further alienated, believing himself to be something of an ubermensch, while the other, Amadou (played by Burkinabe thespian Isaka Sawadogo), desperately wants to connect.

Estranged from his wife and children, seemingly the only real human connection he cherishes (with his children especially), John, as depicted in Alexandre Moors’ psychological drama, “Blue Caprice,” sees his children as adults tend to see children – pure and unsullied. But that theory is negated as we watch him strategize with 17-year-old Lee Boyd Malvo (played by Tequan Richmond), in a chilling scene in a supermarket, as they shop for groceries, during which Muhammad doesn’t even pretend to be covert, ruminating on how best to elude and confuse authorities, and keep profilers off-guard, by killing at random – including women and children.
But once he loses his children, his rage (a composed, mostly internal kind of rage) and desire to “do something,” acting against what he feels are injustices against him (as well as a general malaise he believes has numbed the rest of the world), only intensifies. 
Malvo, in essence, doesn’t entirely replace the 3 children John loses in a custody battle to his ex-wife, but he’s very much a child – especially one who’s just as alienated, and in desperate need of a father-like figure, and thus highly impressionable, all of which John exploits fully.
We never see John do any actual shooting; The deaths depicted on screen all come from guns fired by Malvo. I’m not certain if that was an intentional choice by the filmmaker. It’s as if he’s John’s Frankenstein. There’s even a scene in which John says to Malvo, like a proud father to his son, “I’ve created a monster.” And excited by his “creation,” John fantasizes about using a similar kind of manipulation to create an army of young men and women, indoctrinated and used like Malvo – soulless killing machines, all in an effort to “wake up” the rest of world, as he sees it.
Some use art as their weapon of choice. Some protest. John kills and destroys. Although it’s not clear that he’s given much thought to what comes after his assembled army “wakes us up.”
Washington plays the character as intelligent, and even charming. He’s considerably poised, and rarely displays any external anxieties. 

One wonders whether the affection he seems to have for his own children is genuine, when he’s so pathologically egocentric, and fully self-centered, believing himself superior to others, and further alienating himself from what we call society.
He’s incredibly cunning and manipulative. In short, he’s a psychopath.
He’s reminiscent of other real-life and fictional loners who went on to destroy; people who feel as if the rest of the world is against them, and/or that they have some greater insight into the human condition that the rest of us don’t, and/or are just too blind to see. They believe that it’s their calling, essentially, to shake the rest of us up, via an act that ensures that they have our complete attention. He maybe even envisions himself as some kind of a rebel or revolutionary.

But what led to his state of mind, the film leaves a mystery. We just know that he’s angry at the world (a deceptively chillingly calm kind of anger), and is driven enough to want to act on that anger. The film just never takes us into his head.

The fear here is that, the massacre that happened 13 years ago is something that could happen again – the seeming randomness of it all.

Meanwhile, “The Invader” starts out interestingly enough, telling a familiar tale of undocumented immigrants and their struggle to survive, but then it becomes a story of one man’s obsession with a woman, nearly abandoning the immigrant struggle story that it began with.

Amadou (played by Burkinabe actor Isaka Sawadogo) is a stranger in a strange land. His story is a familiar one – that of many Africans who risk death on journeys across seas, in search of better lives in Europe. Very timely and topical too. He’s instantly at a disadvantage and alienated, if only because he’s black and, we assume, poor, and in a city that’s entirely unfamiliar to him – one whose population is overwhelmingly white and richer, in comparison.

But he’s also the burly, rascally, virile African male archetype that, if you believe grapevine echoes, is the stuff of many a white man’s nightmares, and a white woman’s dreams – the latter toyed with a bit in “The Invader,” although race is never a focus or topic of conversation. But one can’t ignore what appears to be commentary on race being made, if only via a scattering of images and situations in the film, by its director.

Like John in “Blue Caprice,” Amadou exudes charm and demands that you pay attention to him, often by not really doing very much physically. He’s just a presence. But unlike John, who seems to relish his disconnection and alienation from the rest of world, Amadou’s alienation isn’t something that he desires. He desperately wants to connect, and Agnès becomes the (at times unfortunate) human being at the other end of his touch. And once he grabs a hold of her, figuratively (although sometimes also literally), he simply refuses to let go.
You sense his frustrations with his plight – an undocumented immigrant, who has to resort to peddling logs of wood in traffic, and who doesn’t have a stable residence to claim, and isn’t certain where his next meal will come from, or even whether he’ll live to see another day. His survival is really his main motivation, even though you can’t help but wonder why he singled out this particular woman as the subject of his sometimes disconcerting affections.
It’s easy to understand his need to connect, but it’s not as easy to understand why he is immediately taken with her. What did he see in her, other than what we heard him say to her – that he found her very attractive? You also wonder why a married woman would meet a complete stranger, who she’s apparently turned on by, if only because of his bold advances (or, again, one wonders about the supposed unspoken lust that white women have for black men, and all the assumptions and stereotypes that go along with that), and doesn’t take too long before deciding it’s a good idea to have sex with him, despite knowing practically nothing about him. And then she swiftly throws him away when she learns that he’s not who she initially assumed he was, and is nothing more than one of many undocumented immigrants in her country.
And unlike psychopathic John in “Blue Caprice,” who always appears poised and in full control of his emotions, Amadou wears his on his sleeve, and explodes often, and sometimes uncontrollably. Unlike John, we are let into Amadou’s head, although not enough.
His obsession maybe shouldn’t be all-that shocking. From his POV, he meets someone who he believes he had an immediate connection with – a woman who sleeps with him not long after their initial meeting. Given his, we could say, fragile state of mind, as a stranger in a strange land, wanting desperately to relieve himself of the disconnected, alienated state in which he now exists, any connection, especially one that evolves as quickly and deeply as this one does, is cherished, and, for some, difficult to let go of, especially when one feels as if they’ve been so easily discarded.

He desires the kind of comfortable life that the many well-off whites whose lives he “invades,” live. But he fails, which only seems to encourage him to want to continue to try, making increasingly rather bold choices with each attempt, until the finale, in which he literally takes over someone else’s life. Although it’s not entirely clear whether that sequence was real or imagined.

I’d note that it’s bothersome, some of the brush strokes with which Belgian director Nicolas Provost paints the character. It could also be a simple misunderstanding, and a conversation with Provost will be illuminating. But he certainly doesn’t shy away from being provocative. The ending sequence especially, speaks to the aforementioned simultaneous fears and desires whites are believed to have of blacks – especially black men.

That it’s titled “The Invader,” in reference to Amadou, obviously suggests an unwanted presence, which must be, in part, how Amadou senses his presence in this new home away from home, and is perceived wherever he goes, which only underscores the detachment and isolation he feels.

Two films telling 2 very different stories; but both essentially observing what could be dubbed a descent into madness by the 2 leads, fueled by alienation, a lack of control of their lives and those around them, and a desire to regain that control.

Trailers for each film below:

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