The Whistleblower (2010) (In Hindi)

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Director: Larysa Kondracki

Starring: Rachel Weisz, Vanessa Redgrave, Monica Bellucci, David Strathairn

Genre: Action, Biography, Crime

Released on: 27 Oct 2011

Writer: Larysa Kondracki, Eilis Kirwan

IMDB Rating: 7.2/10 (28,156 Votes)

Duration: 112 min

Synopsis: Inspired by true events, Kathy (Rachel Weisz) is an American police officer who takes a job working as a peacekeeper in post-war Bosnia. Her expectations of helping to rebuild a devastated country are dashed when she uncovers a dangerous reality of corruption, cover-up and intrigue amid a world of private contractors and multinational diplomatic doubletalk.

Here is a film to fill you with rage. It is based on the true story of Kathryn Bolkovac, a police officer from Lincoln, Neb., who accepted an offer to join the U.N. peacekeeping mission in Bosnia. While there, she uncovered direct evidence that underage girls were being held captive and bought and sold in a profitable sex trafficking operation. When she presented her evidence to her superiors, it was ignored. When she persisted, she was fired.

There is more. The American private security firm, DynCorp International, whose operatives committed these crimes and tried to cover them up, is still employed by the U.S. government in Iraq and Afghanistan, and was used in Louisiana after Katrina. Although its activities were at the center of Bolkovac's report, she found that local police and U.N. peacekeepers themselves were also deeply involved.

Although "The Whistleblower" is a fictional film, these facts were supported by a British labor tribunal that investigated her claim against DynCorp, finding the corporation's defense "completely unbelievable." That high officials in the U.N. Human Rights Commission also were aware of the sex trafficking is unbelievable to me.

The movie, constructed as a relentless and frightening thriller, stars Rachel Weisz in one of her best performances, portraying Bolkovac as a quiet, intense woman who has heroism thrust upon her by the evidence of her own eyes. Investigating complaints of rape and forced prostitution, she visits private clubs where underage girls are exhibited and fondled, held captive, threatened with death and actually sold to individuals to take and do with what they desired.

These young women were lured to Bosnia under false pretenses. Their passports were taken so they could not escape across borders. Because of the curfews in effect in the area at the time, local citizens could not leave their homes at night, and so the customers at the clubs were, by definition, law-enforcement personnel not under curfew.

In her almost singlehanded investigation, Bolkovac is often seen in scary nighttime situations; walking down a street or entering her apartment seems risky. The movie is not above employing images of female vulnerability to manipulate us, and it succeeds. What makes it so effective is that Weisz doesn't play her character as any species of action heroine, but simply as a competent, dutiful cop who is naive enough to believe her job should be performed by the book. After she comes to know some of the victims personally, after they trust her, the job becomes more of a mission.

David Strathairn co-stars as Peter Ward, one of Bolkovac's few colleagues who seems trustworthy. Vanessa Redgrave plays Madeleine Rees, a real-life official of the Human Rights Commission, who offers moral support and also warnings that Bolkovac's life may be in danger. Monica Bellucci is Laura Levin, a bureaucrat who refuses to help repatriate young women, because, in cruel logic, they have no passports. And David Hewlett is Fred Murray, Bolkovac's superior officer, who is himself part of the cover-up.

The film's director and co-writer, Larysa Kondracki, infuses the film with an atmosphere of pervading male menace, which, after all, is based on facts and court findings. In wartime, the rape of civilians is often considered one of the spoils, and no doubt it is a morale-booster for troops who feel in danger. It is also a cruel blow against enemies — but these girls are not enemies but simply and pathetically victims.

The male world in which Bolkovac moves contains many men who regard her as a sex object, and see sexual aggression as an expression of their masculinity. In this boys' club, it is expected that members will go along, participate or turn a blind eye. There is unspecified but clearly sensed danger if they don't. On one hand, they can party and enjoy sex. On the other, they can lose their jobs, their salaries, their pensions and perhaps their lives.

For 20 years the news has reported from time to time of crimes alleged by employees of paid defense contractors. These cases rarely seem to result in change, and the stories continue. We can only guess what may be going unreported. "The Whistleblower" offers chilling evidence of why that seems to be so.

The Whistleblower is a 2010 film starring Rachel Weisz. I recently watched it for the first time. The drama is based on the experiences of Kathryn Bolkovac, a Nebraska cop who served as a peacekeeper in post-war Bosnia and exposed the U.N. for covering up a sex scandal.

Larysa Kondracki wrote and directed the fact-based film. Kathryn Bolkovac, the woman on whose real life experiences the film is based, sold the rights to her story to director Larysa Kondracki for $100, who then tried for 8 years to get it made. When Rachel Weisz finally signed on to do the film, it went ahead.

Rachel Weisz did a fantastic job in the grim drama. It was full of horrific images of sex slavery and abused women, which might be a trigger problem for some viewers.

The story was tense and dangerous, filled with betrayals and deceptions from those who should have been trying to stop the trafficking in women. Human trafficking is a billion dollar industry. Despite her courageous efforts to do something about it, Kathryn Bolkovac was unable to stop it. She finally took the story to the BBC in London, since everyone around her was on the take. The people she exposed went unpunished. They were sent home, nothing more.

Only two people helped her. Madeline Rees (Vanessa Redgrave) and Peter Ward (David Strathairn). Otherwise she wouldn’t have even been able to get the evidence she collected out of Bosnia-Herzegovina.

Human trafficking is still an important, on-going human rights problem. The film deserves watching for that reason alone. It stands on its merits as a terrific film with brilliant acting all around, especially from Rachel Weisz.

Kathy’s journey as she leaves Nebraska and enters into the new environment is well-paced. She slowly realizes the depth of the corruption around her. She becomes attached to one woman played by Roxana Condurache that she desperately wants to save. Bit by bit, she sees the conditions in which the women live, the kind of abuse they are subjected to. She learns who around her are slimy, greedy, predators – and they are everywhere.

She’s threatened and fired for stirring up trouble. She flees with the material she gave to the BBC. Then she sued for unfair dismissal, and won.

The real Kathy Bolkovac continues her activism fighting human trafficking. You can check her website, but it’s rather out of date about her activities. In 2015, she was nominated for a Nobel Peace Prize.

Not too far into The Whistleblower I was ready to chalk it up as another “inspired by a true story” feature wallowing in the misfortune of others as one person faces hardship in the face of many to set things right. It’s a familiar narrative that doesn’t make a film of this nature anything special and, for the most part, The Whistleblower is merely mediocre. But Rachel Weisz delivers a starring turn that gets better and better as the film wears on providing one reason for praise.

Making her feature film debut, The Whistleblower is directed and co-written by Larysa Kondracki and she has put something together that is not for the faint of heart. Set in 1999 it follows the true story of Kathy Bolkovac (Weisz) as she trades in her position as a Nebraska police officer for a job as a peacekeeper working for the United Nations in Sarajevo. Her decision was primarily money-based, but once she gets there she soon lands a position as the head of the U.N.’s Gender Office and stumbles onto a sex trafficking scandal involving members of the U.N., fellow peacekeepers, local police and just about every other authority in the region.

Kathy is forced to work through opposing factors such as the fact most of the guilty have diplomatic immunity and the girls that are being treated as “whores of war” are too afraid to speak out for reasons you will see in scenes that are disturbingly graphic. One scene in particular involving a lead pipe is so audibly disturbing, and goes on for so long, it’s quite hard to take.

This is a film primarily focusing on the ill-treatment of women and the growing rate of human trafficking. As a result it takes a singular focus on one character in particular, Raya (Roxana Condurache), a Ukrainian sex slave, whom Kathy has made it her personal mission to save.

As the stakes get raised the movie improves, primarily based on Weisz’s performance. Weisz is the only thing that keeps it going and in a scene late in the picture she really goes for it and lands a blow that elevates this film above its average origins, but she can’t deliver an overall saving grace.

The supporting cast includes small performances by Vanessa Redgrave, Monica Bellucci and David Strathairn. All three adding very little to the film. Redgrave and Strathairn’s performances are fairly typical with Redgrave playing the head of the Office of the United Nations High Commissioner for Human Rights (OHCHR) and Strathairn playing an Internal Affairs officer. Bellucci plays the ignorant head of the repatriation program serving as something of a quasi-villain but ultimately only servicing the story by adding a rather unnecessary wrinkle to a plot that wasn’t really needed.

None of this changes the fact Kondracki shows signs of being a top notch director with this serving as her feature debut. Her two lead characters are well established and she isn’t shy when it comes to the tough stuff. Had this film been able to figure out exactly what it wanted to be it could have been great, but at the very least we get an introduction to a director that could be entertaining us over the next several years and yet another solid performance to add to Weisz’s growing list

In the lineage of real-life David-and-Goliath movies in which intrepid seekers of the truth investigate malfeasance in high places, “The Whistleblower” deserves an honorable mention. This earnest film may not be as dramatically coherent or as gripping as “Serpico,” “All the President’s Men,” “Erin Brockovich” and “Silkwood,” to name four much-decorated Hollywood prototypes. But its revelations are, if anything, more devastating and far more immediate than the dirty deeds uncovered in those predecessors.

The directorial debut of the Canadian filmmaker Larysa Kondracki, this grueling exposé of human trafficking in postwar Bosnia teeters in an uneasy balance between quasi-documentary and fiction. Its most sickening moment shows the rape and torture of a rebellious young prostitute smuggled from Ukraine into a Bosnian backwoods brothel while other young “whores of war,” as one character dismisses human trafficking victims, are forced to watch.

But for all its high-mindedness, “The Whistleblower,” filmed largely in Romania, has a choppy, fumbling screenplay (by Ms. Kondracki and Eilis Kirwan) that lurches between shrill editorializing and vagueness while sorting through more characters than it can comfortably handle or even readily identify.

As Kathryn Bolkovac (Rachel Weisz), the movie’s slingshot-toting American heroine, marches into a political minefield, she seems strangely immune to danger until near the end of the film. “The Whistleblower” ultimately fizzles by withholding any cathartic sense that justice was done, or ever will be done, once Kathryn spills the beans to the British news media.

When the story begins, she is a police officer and a divorced mother living in Lincoln, Neb. Prevented from transferring to Atlanta to be nearer to her daughter, she impulsively accepts a lucrative job as a United Nations peacekeeping officer in Bosnia in 1999. The blunt, fearless Kathryn embraces her new job with a gusto that immediately raises eyebrows among her cynical co-workers, who look down at the Eastern Europeans they have been charged to help.

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Ms. Weisz’s feisty performance is the strongest element of “The Whistleblower.” She imbues Kathryn with the same stubborn-verging-on-fanatical zeal that Rose Byrne (whom Ms. Weisz physically resembles) brings to her character, Ellen Parsons, in the television series “Damages,” with which “The Whistleblower” shares a strain of paranoia.After demonstrating her mettle in prosecuting a case of domestic violence, Kathryn is offered a job in the United Nations Gender Affairs Office, working with the police to investigate rape, domestic abuse and sex trafficking. Her gumption earns her the admiration of Madeleine Rees (Vanessa Redgrave, in a cameo), the head of the United Nations Human Rights Commission, who remains an enigmatic, undeveloped character. The party-loving Kathryn also begins a casual affair with Jan (Nikolaj Lie Kaas), a fellow peacekeeping officer.

Kathryn comes face to face with the truth when she journeys to a bar in the countryside, where she discovers a nest of imprisoned young prostitutes who are so frightened that they refuse to talk to her. When she reports back to her smirking boss, Fred Murray (David Hewlett), and he mockingly asks her if she’s “going Columbo,” she realizes that he is part of a conspiracy of silence among her male co-workers. Even Laura Leviani (Monica Bellucci), the chilly head of the repatriation program, is of no help: she insists that bureaucratic rules leave her unable to rescue prostitutes whose passports have been confiscated by their kidnappers.

As Kathryn gathers evidence, including Abu Ghraib-like snapshots of the girls and their johns, a fuller picture begins to emerge of a lucrative, far-reaching operation involving the police and United Nations peacekeepers, many of them protected by diplomatic immunity. The more noise she makes to United Nations higher-ups, the more apparent it becomes that she is viewed as a troublemaking nuisance, and her job is terminated.The movie concentrates on Kathryn’s efforts to coax two terrified Ukrainian girls, Raya (Roxana Condurache) and her best friend, Irka (Rayisa Kondracki, the director’s sister), to identify their kidnappers. Kathryn recklessly promises Raya protection if she agrees to talk, with dire consequences. Near the end of “The Whistleblower,” a scene is awkwardly inserted in which Raya’s mother discovers that immediate family members sold her daughter into slavery.

Kathryn is so outraged by her discoveries that she has no room for panic. Her lack of caution suggests that only someone blindly immune to intimidation would rattle so many cages without fearing for her life. Some of the horrors in the book Ms. Bolkovac wrote about her experiences, including the fact that many of the trafficked girls were much younger than those shown in the movie, are softened.

Kathryn’s only ally is Peter Ward (David Strathairn, in ominously brooding, conspiratorial mode), an internal affairs specialist who, in the film’s most suspenseful scene, helps her smuggle evidence out of her office.

“The Whistleblower” tells a story so repellent that it is almost beyond belief. Its conclusion — that in the moral quagmire of war and its aftermath, human trafficking and corruption are collateral damage — is unutterably depressing.

“The Whistleblower” is rated R (Under 17 requires accompanying parent or adult guardian). It has a graphic rape, brutalization and strong language.