For some obscure reason I always find myself going through the morning of 9/11 step by step, minute by minute, hijacked plane by hijacked plane. Even now there are days when I try to relive it and bring some order into that chaotic morning. If you go and see United 93 – which I did yesterday – you will go through exactly the same, an almost real-time experience of reliving of what happened that morning. And order you need to create as the movie reveals the chaos and confusion that governed the various flight control centers, something brought home poignantly by the fact that a number of the actors are in fact the actual people that manned these centers on 9/11.

Walking out of the theater there wasn’t the feeling that there was anything new or revolutionary, no; all the facts were very clear and transparent before and after watching the film. The advance question was what director Ron Greengrass would make of it all, and it is fair to say he delivered, even in the parts where speculation was required to fill in some of the factual blanks. While everyone is hyped over the contrast between the praying hijacker and some passengers reciting the Lord’s Prayer, I was taken aback by one other peculiar confrontation. It’s the moment where one of the flight attendants hurries back to the center of the plane to help a severely injured passenger – knifed by one of the terrorists – and flashes the Red Cross emergency kit in front of a terrorist with a look on her face saying, “Please”. The hijacker relents and allows her to treat the dying man, but it was probably the one area where Greengrass’ creative license was used a little too generously.

Yet, it did a number of important things. It highlighted that the hijackers struggled with a degree of uncertainty, it pinpointed the religious aspect with the obvious Red Cross crusader connotation, but above all it allowed the viewer to distill a measure of hope that things might work out well – something that defies logic and yet you’re tempted by it. It gives you something to cling to during the final minutes: there is hope; maybe the airliner will land safely after all. That expectation is fueled by the presence of a pilot with one-engine experience among the passengers who bravely declares that with radio help from the ground he could possibly land flight 93. You’re drawn into the possibility that the passenger revolt might actually work.

So my re-piecing and re-ordering of events may after all be a subconscious attempt to find that redeeming shard of information that will somehow transform 9/11 into something more palatable, something that can neutralize the fear and uncertainty created on that day. Yet, I know better but the omnipresence of the question “Is it too soon?” over the past week indicates that many actually think that the shrill reality of that day can not be revisited again. It points to a feeling that America is still busy looking for facts that can sanitize the horrendous attacks into something that won’t be as haunting, something that won’t repeat itself.

And therein of course do we find United 93’s ultimate strength. The savage and dreadful way in which the plane falls into the hijackers' hands, the ultimate futility of the resistance and the definitive crash into that field in Shanksville, Pennsylvania, throws the bare facts once more in front of America and the world at large. There are no redeeming points, there was no hope on that day and any group that is capable of hijacking and crashing four commercial airliners within a few hours is no doubt poised for more in the future. But that knowledge remains something that many would like to blot out conveniently, something which we have also witnessed in Europe following its first encounters with jihadist terror. The justifiable and positive instinct to move on has a nasty fellow traveler called the willingness to forget.

So, there can’t be enough United 93-type films. The test will be in how they evolve over time. Not only will more facts see the light of day, but our attitudes and perceptions will develop to a level where again the events of that morning are reworked and reinterpreted. As long as we keep doing that there is hope that we can face and fight that very real and lethal terrorist threat. But, if we give in to sanitizing history and creating false expectations we are lost. Greengrass' film provides a sliver of hope that we will not give in and have the ability to fight, but the story of 9/11 needs to be retold relentlessly before I can really begin to believe that.

NOTE: There is a huge round-up of blogger reviews over at Hot Air.

AFTERTHOUGHT: I did review one other Greengrass film earlier: Bloody Sunday. That by the way was not exactly a balanced and overly factual piece of work, but it proves the point that filmed entertainment has indeed an unusual capability to rewrite history.