The daunting challenge of ‘United 93’

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It may be that proximity plays a more prominent role in the issue of whether films like “United 93,” “World Trade Center” and the certain stream of followers to come are easily accepted in the United States.

The magnitude of the Holocaust is almost indescribable, yet it happened in faraway Europe, and initially what Americans saw of it came primarily from newsreels and radio reports. Vietnam took place half a world away.

The problem of proximity
September 11 happened on our shores, in New York City, Washington, D.C. and Pennsylvania, involving iconic landmarks. And we watched it unfold in our living rooms. Therefore, it hit home. It happened to us.

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The result is an unprecedented level of hesitancy, manifested in some recent and much-publicized complaints from moviegoers at some theaters about being subjected to the trailer for “United 93.” Those reports should fade away quickly once buzz builds about the film.

Historically, Hollywood has told difficult stories through the eyes of particular characters from particular points of view. There was Anne Frank, of course, along with Adrien Brody’s character in “The Pianist,” Liam Neeson’s Oskar Schindler, Robert DeNiro’s character in “The Deer Hunter” and Jane Fonda’s in “Coming Home.” That is done by design, in a traditional effort to connect audiences to people and events on the screen.

But Greengrass defied the Hollywood formula, to great effect. The event and the experience are the main characters. Certainly there will be films to follow, starting with “World Trade Center,” that focus on individuals. Since “United 93” is the initial foray into this topic, it’s probably better that Greengrass told it from multiple points of view so as not to value one person’s life or experiences on that day over another’s.

Before embarking on this project, Greengrass met with the families of the victims to ease their concerns and assure them that he would treat the story of United flight 93 with dignity and respect. As time goes by, filmmakers may feel more artistic freedom to explore the multitude of storylines that emerged from that single day. Families may feel less protective and audiences may be more receptive as Americans ease slowly into a period of post-9/11 reflection and examination.

Moviegoers are accustomed to facing their fears because Hollywood has prepared them over the years with numerous interpretations of history’s darkest hours. Even though the pain from 9/11 lingers fresh, this is just another, with many more to come.

Michael Ventre is a frequent contributor to MSNBC.com.

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