For the wounds of 9/11 that have yet to heal, Oliver Stone's World Trade Center is like a dollop of aloe vera. Pungent yet soothing, this film has the power to mend our scars and lift our spirits. Critics have lashed out at Hollywood for plundering a national tragedy, but Stone is following in the footsteps of many great artists who take life's lemons and make lemon martinis. His decision to turn the events of that fateful day into a musical was a shrewd one. The upbeat show tunes and high-stepping dance numbers serve notice to al-Qaida that America's heartbeat is not only as strong as ever, but it pulsates in 3/4 time.
The movie begins in a Florida classroom. A small child reads from Dr. Seuss as Andrew Card whispers news of the attack into the ear of President Bush (Stephen Dorff). The President repeatedly sloughs off his assistant before breaking into “What Am I Supposed to Do,” which includes the rousing chorus: “So they crashed a couple of jets/What am I supposed to do?/ Let me hear what happens next/With this 'Horton Hears a Who'.”
Back in New York, Police Officer John McLoughlin (a puffy Nicolas Cage) leads a reluctant group of would-be rescuers into the North Tower. As they trudge up the stairs, dissension builds. McLoughlin rallies his force with the jaunty “My Posse,” which includes, “I'm not afraid of dying/Surrounded by my posse/We all must go sometime/Death even claimed Bob Fosse.” This well-choreographed number ends with the rescuers ascending in a Fosse-esque pimp walk, counterpointed by the descending civilians, who shimmy and fishtail their way to safety.
With the towers collapse, the rescuers are confined to a tiny space amongst the rubble. At this point, Stone smartly shifts the focus to the family members. Maria Bello is touching as McLoughlin's wife, Donna. She gamely maintains her perspective amidst all the uncertainty, crooning the sultry “Private Dance” and lingering on the lyrics, “ My husband's never been untrue/I know he's not with whores/The worst thing that he's prone to do/Is to get lap dances at Scores.” For emphasis, Donna warbles this tune as she gives the startled postman a private dance. It underscores one of the recurring themes of the film, the notion that if we stop giving and getting lap dances, then the terrorists win.
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