Platoon (Special Edition)
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Movie Reviews of Platoon (Special Edition)
Movie Review: "Rejoice O young man in thy youth" ~ Ecclesiastes 11:9
Summary: 5 Stars
That's the title card to Oliver Stone's 1986 Vietnam War masterpiece "Platoon", but you're not going to see much rejoicing in this film 'cause it identifies the Vietnam infantry experience as no less than hell on earth.
THE PLOT: Chris Taylor naively volunteers for combat in Vietnam (late '67 through '68) and slowly adapts to the jungle warfare and becomes an adequate grunt. A rift eventually develops between the senior sergeant, Barnes (Tom Berenger), and the junior sergeant, Elias (Willem Dafoe); the former a veritable indestructible killing machine and the latter an expert soldier who refuses to allow the horrors of war to rob him of his humanity.
"Platoon" is masterful moviemaking in practically every way and towers over most other Vietnam war flicks, with the sole exception of "Apocalypse Now" (the original version). What works best is the ensemble cast and the numerous memorable characters who all smack of real life -- Taylor, Barnes, Elias, Lt. Wolfe, O'Neill, Bunny, Junior, King, Rhah, Crawford, Tex and Big Harold (amongst others). The idea that any filmmaker can effectively bring to life a dozen or more characters like this in a 2-hour film is uncanny to say the least.
Memorable moments abound, including:
- After stumbling upon a just-abandoned Vietcong nest where a soldier comes up missing, the platoon finds his corpse staked-up down the river and the camera slowly pans across the visage of practically every platoon member culminating with Barnes, who mutters with seething vengeance. This is a potent scene spotlighting a band of American warriors, from very diverse racial/ethnic/socio-economic backgrounds, forced together halfway around the world in some God-forsaken jungle to face an enemy of jungle wraiths.
- After the Barnes/Elias fight at the village Barnes is informed by Captain Harris that there will be a full investigation. Barnes leaves the meeting and walks by his two disciples O'Niell and Bunny. O'Neill asks Barnes if there's going to be an investigation. The laconic Barnes stops but doesn't answer; he just looks away, as if in thought, smoking his cigarette. The camera stays on Barnes while Bunny responds: "O'Neill, man, you worry to much; the sergeant will take care of him." Looking at Barnes' countenance you just KNOW he's contemplating murder. The scene is filmmaking of the highest order.
- In a dugout six of the soldiers who sided with Elias discuss what to do after it appears Elias had been shot by Barnes in combat. They all want to kill the scarred-face Barnes, but Rhah reveals Barnes' stature with the men is nigh mythological at this point; he's been hit seven times and still isn't dead. "Barnes ain't meant to die! The only thing that can kill Barnes is Barnes". A shirtless Barnes suddenly appears, drinking a bottle of whiskey; apparently he heard the whole conversation. He boldly confronts all six with a fascinating rant ("I am reality") and challenges them to kill him. None of them take the bait because they deem him a human tiger, except Taylor, who's no match for Barnes in man-to-man combat. Although Barnes is the villain in the film you can't help but admire his sheer boldness and killer skills; it's clear why the men respect and fear him.
By contrast, Elias is the compassionate, loving and righteous Christ-figure. If there's any doubt to this it's bludgeoned into the viewer via the melodramatic and unrealistic death scene, which can be excused on the grounds of its iconic imagery (the cover of the dvd) and obvious symbolism.
Bunny (Kevin Dillon) is an interesting character. He's young, simple and likable but the war morphs him into a nigh-psychotic killer, so much so that he seriously creeps the other men out. But, again, he somehow maintains an amiable charm, unlike Tex who comes across wholly venomous.
Some have criticized that it's impossible to make a war film that's anti-war on the grounds that war films by their nature make war seem fun in an adventurous way. Not so with "Platoon". How did Stone accomplish this? Well, aside from skillfully showing the hard day-to-day life of infantry men in the jungle, the combat scenes are viewed from the grunt's disoriented perspective where, often, there are no clear battle lines of good guys/bad guys (even within the platoon itself!); the enemy -- ghostly figures who are never clearly seen -- can come from any angle. Anything can and does happen, at anytime. Stone denies the viewer the feeling that this type of jungle combat makes sense. Needless to ask, how can anyone go through such without being inwardly scarred for life?
Some criticize the flagrant cussing but Stone was shooting for realism; I know from experience that this is generally how grunts talk. I don't know about you but, if I'm going to see a war film, I want to see the awful truth, not some cleaned-up fantasy BS.
The ending shows that Barnes & Elias are figurative of flesh & spirit, the conflicting forces within us all. [SPOILER] Taylor reflects, "The war is over for me now, but it will always be there the rest of my days, as I'm sure Elias will be, fighting with Barnes for what Rhah called 'possession of my soul'. There are times since I've felt like a child, born of those two fathers. But, be that as it may, those of us who did make it have an obligation to build again, to teach to others what we know, and to try with what's left of our lives to find a goodness and a meaning to this life."
Amen.
Movie Review: "Death...what do you boys know about death?"
Summary: 5 Stars
Oliver Stone's "Platoon" is an explosive tour de force which deals not only with the conflict in Vietnam but also tackles the fundamental issues of good and evil, the effect the 1960's counterculture had on not only civilians living in the US but soldiers abroad, and what it means to retain even a grain of morality in situations which may quite literally kill the average man at any time.
I've known Vietnam veterans who love this movie and hate this movie. While Oliver Stone is known to butcher history, and how, I don't think he'd lie about his own experiences as a veteran and I don't think he did. People do horrendous things in war (the Mai Lai Massacre being the standard example) because war itself is evil. When you put a group of men in a war that has neither rhyme nor reason to it and demand they stay in a dangerous jungle with a virtually unseen opponent, bad things are going to happen on both sides. It's that simple.
Stone takes pains to honor all variety of men who fought in this war, even the nearly psychopathic rednecks like Bunny. A lot of people miss that--the last thing Bunny says to Junior in their foxhole, before we see Satan himself blazing in Barnes' eyes as he attempts to kill Chris Taylor (Charlie Sheen), is "You gonna be alright in here with me, boy." While it is clear that Elias' camp of dope smoking hippie/tough guys are the ones who have retained their humanity (Johnny Depp and Forest Whitaker star in some early but prophetic roles) and Barnes' camp of hard drinking, racist nutcases are the ones so far gone they are able to "do the whole f**kin village" without feeling too badly afterward, both are given their due in different points of the movie. He honors their bravery and service even if he despises them individually.
Sgt. Elias Grodin (Wilem Defoe) and Sgt. Bob Barnes (Tom Berenger) are both fantastic soldiers with not only the capacity to survive the attacks of the VC themselves, but also have the ability to rescue the naive grunts from sudden death. We notice almost immediately that Elias--an inoffensive senior officer who retains a sense of conscience throughout the grisly ordeal--is the one who utilizes this, showing compassion to his crazed troops, even getting them high to calm them down.
Sgt. Barnes, on the other hand, is almost like the Grim Reaper. With his mutilated face, huge arms, hunting knife and green bandana, he fuels the animalistic impulses for immediate revenge and retaliation in the platoon to the point where they become capable of almost anything. He has come to hate the "enemy" to the point where he is capable of putting a pistol to the head of a small Vietnamese girl to get information. Perhaps his only value is that he understands the psychology of the NKVD very well. Sgt. Barnes is intended to represent "the establishment", the alphamale figure who disdains freedom in favor of fascist order, the cracker with an intense desire not only to command but to punish dissent severely.
Elias in his own way is a disillusioning figure because though he is a patriot he is completely out of his element: the cowardly Lieutenant who doesn't have a fifth of the control over his own men that Barnes himself does also idolizes him, and ignores Elias' advice during combat in favor of more aggressive approaches. Barnes himself fears Elias because he sees a mirror image of his own twisted soul in the man but is no longer able to return to a place of purity. Elias knows the war is futile but refuses to leave his men. Barnes refuses to surrender because he believes he can control everything and has the pride of Moloch.
An inevitable collision of wills occur between these two men, leaving Chris almost completely crazed. He knows he has to do something but does not have Elias' courage and is terrified, as he should be, of Barnes.
These two titanic figures do not represent the whole of the film, however. The combat scenes are horrifying and Stone managed to bring out the best and worst in human nature from each character very realistically. Some kindle hope and some are resigned to death. The beginning of the film features an ambush by the Vietcong which leaves one seemingly warmhearted, brand new recruit dead. Along with Elias' death, or perhaps even more so, this was the most difficult to endure for me: the pointless snuffing out of human life that these kind of conflicts consist of. All it takes is one bullet or one bomb--made by the hands of either side--to maim or destroy a life forever. This is an absolute masterpiece from an uneven director.
Movie Review: Platoon is an important cinematic achievement
Summary: 5 Stars
Platoon is the first film on the subject of war that was directed by a war veteran, Oliver Stone. The son of a wealthy family, Stone dropped out of Yale during the Vietnam War, volunteered as a private for the infantry, and was twice wounded and decorated. In 1975, as Saigon was falling, he decided to relive his experiences of the war by writing a loosely autobiographical screenplay about them. Stone decided to do it then because he feared that his familiarity with the war would soon be forgotten. His screenplay of Platoon took 11 years to become a film, and became what is not only one of the best movies about war, but also a great achievement that compares powerfully with the most impressive movies in cinematic history.Charlie Sheen plays the role of Chris Taylor (a character who Stone based on himself), a callow yet well-meaning youth who volunteered for the war because he thought it was his patriotic duty and because he doesn't want to become a "fake human being." He immediately realizes the horrible atrocities and brutality of war, as he provides a unique narrative through letters he writes to his grandmother. The viewers, along with Chris, discover that the Vietnam War is a land with an ever-present atmosphere of danger, where every sound and movement brings an ominous threat of death. As Chris loses his innocence, he witnesses the killing and torturing of Vietnamese villagers by American soldiers (who depend on drugs and alcohol to assuage their difficulties), betrayal, and a strong animosity within the platoon he's a member of. The most notable of his experiences, however, is a moral battle that is fought over him by the saintly and pure Sergeant Elias (Willem Dafoe) and the wicked, malevolent Sergeant Barnes (Tom Berenger).
Released seven long years after Francis Ford Coppola's Apocalypse Now, Platoon was the next major film to seriously illustrate the Vietnam War. What makes Platoon much different from Apocalypse Now is that Platoon does not strive too much to be artistic and also depicts the war more authentically. In fact, the gritty realism of Platoon might make moviegoers incorrectly guess that it preceded Apocalypse Now.
Platoon, like all of Stone's films, is nearly flawless in its making. The cinematography, by the great Robert Richardson, is frankly remarkable. Richardson's work with Platoon is brilliant and captures the violence and threatening feel of war. Furthermore, the editing by Claire Simpson is equally praiseworthy. In addition, one of the most special aspects of the film is the tremendously haunting and emotionally powerful use of Samuel Barber's "Adagio for Strings," which was arranged and conducted by Georges Delerue (who also provides the original music for the film). Most importantly, however, is Stone's directing, which is displayed passionately in Platoon, and which makes this film even more of a masterpiece than the movie would have been with a different director.
There is not one slacker in the cast of Platoon. Every performance is delivered with strength and inspiring drama. Sheen, as the disillusioned Chris, is simply amazing and does not render his character as being too solemn or innocent. The true standouts, however, are Dafoe and Berenger. Dafoe, as the Christ-like Sergeant Elias (who Stone considered having a Native American Indian portray), is convincing and charismatic. His character never loses his moral compass and he depicts this fervently. Tom Berenger performs frighteningly as Sergeant Barnes, the embodiment of evil and the symbol of the harsh realities of life (Barnes declares at one pivotal moment of the movie that "I am reality"). Berenger's performance is overshadowing and haunting as the exact opposite of Sergeant Elias, and makes the character of Barnes one of the most memorable villains in cinema.
Platoon should be admired by all. The film never tries to be too sentimental, yet is nonetheless quite emotional and hugely dramatic with its messages that war is a horrific and unpleasant event and that the enemy is often within ourselves. It is an important movie that depicts the horrible nature of war with ardor, and will be remembered and as a classic and an accomplishment that surpasses other movies in its field.
Movie Review: A grunt's eye view of the loss of innocence
Summary: 5 Stars
When I first saw Platoon in the theatres in 1986, I remember looking around at one point during the film and seeing every face riveted to the screen. Use whatever adjectives you want, this is one compelling, horrifying and numbing film. This is definitely a must-see for history students, would-be soldiers and politicians. Watch it and chew on it awhile.The story revolves around Pvt. Chris Taylor (Charlie Sheen), a privileged kid who drops out of college to go fight in Vietnam. He begins as a green recruit, easily weakened by the jungle heat and unable to spot a bunker five feet in front of him, and ends wounded and disillusioned but with a fulfillment of the challenge that confronts him midway through the film.
Oliver Stone immerses the viewer into the mind's eye of the soldier, with the chaos of jungle warfare and not knowing who or where the enemy is hiding. One begins to see why death and maiming by friendly fire were so common.
From the opening sequence, Taylor quickly realizes he's not in Kansas anymore, as the clean recruits fresh from boot camp pass by a group of vets, and one man in particular with a look that haunts the young private.
Although I've seen this film many times, the scene in the village still gets to me. Probably one of the most intense sequences Stone has filmed, with screaming women and children and a bunch of angry soldiers.
There's also the battle in the rainy woods, the shooting of Elias, and the final battle where the enemy breaks through the camp perimeter. Luckily Stone injected a little levity with the heads and boozers base camp scenes.
What this film is really about, is the man vs. man struggle that takes place between Sgt. Barnes (Tom Berenger) and Sgt. Elias (Willem Dafoe) and how Pvt. Taylor is caught in between. Barnes is the battle-scarred leader who will do anything to win his war. Elias is the more compassionate one, mentoring Taylor and helping him become a better soldier. Berenger's Barnes comes off as having gone to the dark side, but this is a man who also cared about his men. Witness the aftermath of the booby-trap scene where Taylor catches him having a smoke. That's what makes him really work as an antagonist and Berenger gives one of his best performances in the role. Dafoe is also a well-rounded character, still a fierce soldier despite his humanism. Surprisingly, Charlie Sheen's performance even stands out after all this time. His character has a definite arc and he is very changed by the end, having learned from both Barnes and Elias, and from the war itself.
The film may come across as too neat, with all the archetypes, and stereotypes, represented. There's the inept academy lieutenant, the psycho redneck, the surfer, the trash-talking brother, and an inexplicable fat guy that strolls out into the middle of a fire fight and thinks he can just yell at VC charging toward him and they'll stop.
There are a number of actors in small parts that have gone on to various degrees of success, including Johnny Depp, Forest Whitaker, John C. McGinley, Tony Todd, Kevin Dillon and Keith David.
Movie Review: Oliver Stone's Masterpiece: Vietnam - You are there
Summary: 5 Stars
War Movies used to portray heroic characters who bravely blew away the enemy in combat that came to the screen looking almost antiseptically bloodless. In my mind "Platoon" changed that and films since from "Saving Private Ryan" to "We Were Soldiers" and "Black Hawk Down" have portrayed combat in a way that no sane person would want to experience voluntarily.But if Platoon were only a collection of realistically staged film battles it would have been boring. The heart of the film is it's story and characters. Charlie Sheen gives his best film performance as new recruit Chris Taylor, a rich kid who passes on his opportunity to go to college instead of Vietnam because he doesn't think that only the poor kids should have to fight. Chris' platoon is led by two sergeants who are wildly different. Willem Dafoe is Sgt Elias, who smokes dope back at camp, but in the field is quick on his feet, witty and wise, and compassionate to his fellow man. Tom Berenger goes against his "pretty boy" image and plays Staff Sgt Barnes, a crusty old combat veteran with the scars of many previous battles on his face. Back in camp Barnes' drug of choice is whiskey, and in the field Barnes believes the ends justifies the means. Tom Moses plays Lieutenant Wolfe as a young fresh-faced officer who has no real connection with his men and is completely dependent on the leadership and decisions of his experienced Sergeants. Other platoon members are brought to life by gifted young actors like Forest Whitaker, John McGinley, Keith David and Johnny Depp.
The central conflict of the film comes with the platoon is out on patrol and discovers one of their members brutally murdered. They come to a small thatched village where there seems to be evidence that these terrified Vietnamese peasants may have harbored or even actively helped the enemy responsible for the murder of their fellow soldier. Barnes, and the soldiers loyal to him, want to take their revenge on the whole village. Elias is more level-headed and believe that many of these peasants had nothing to do with it. This scene escalates in violence and intensity until Elias barely reigns in the men, and the hate and distrust that erupts between Elias and Barnes colors the rest of the movie.
The film ends with a virtuoso sequence in which the Platoon entrenches themselves in the face of a vastly larger advancing North Vietnamese force. Another Platoon is entrenched in front of them, and we see the growing hysteria among the platoon as the forward platoon is overrun and annihilated by the Vietnamese forces.
Oliver Stone's movie takes place among the common soldiers and all of the politics of the Vietnam War occur somewhere else.
This movie is as close as I ever want to be to a foxhole with an armed enemy coming towards me.