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I live with a Vietnam Vet who served in the tedious 1960s with 1st Cav. Medivac. During service he earned two Purple Hearts, the Eminent Flying Wicked, and the Air Medal. Since WE WERE SOLDIERS concerns the 1st Cav., Randy wanted to peruse it. I reluctantly agreed; I am not partial to war films and I disfavor Mel Gibson, and Randy is very hard on Vietnam War films. He dismisses PLATOON as a Hollywood 8×10 glossy; says APOCALYPSE NOW is an involving movie that captures the paranoia, but all the technical details are wrong; and describes DEER HUNTER as favorable in its depiction of the strangeness of coming home but so beefy of space holes that he can hardly endure it. And about one and all he says: “It wasn’t like that.”
He was restful through the film, and when we left the theatre I asked what he view. He said, “They finally got it. That’s what it was like. All the details are proper. The actors were objective like the men I knew. They looked like that and they talked like that. And the army wives too, they really were like that, at least every one I ever knew.” The he was peaceful for a long time. At last he said, “You remember the scene where the guy tries to steal up a burn victim by the legs and all the skin slides off? Something like that happened to me once. It was at a helicopter shatter. I went to purchase him up and all the skin objective slid good off. It looked impartial like that, too. I’ve never told any one about it.”
In most respects WE WERE SOLDIERS is a war movie tiring, and simple. There are several moments when the film relates the war to the politics and social movements that swirled about it, and the arrive destruction of the 1st. Cav.’s 7th Battalion at Ia Drang clearly arises from the top brass’ foolish decision to send the 7th into an determined ambush–but the film is not so noteworthy fervent in what was going on at home or at the army’s top as it is in what was actually occurring on the ground. And in this it is extremely meticulous, detailed, and often horrifically successful. Neither Randy nor I–nor any one in the theatre I could see–was bored by or dismissive of the film. It grabs you and it grabs you hard, and I can easily say that it is one of the finest war movies I have ever seen, far generous to the likes of SAVING PRIVATE RYAN, which seems quite tame in comparison.
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Perhaps the single most impressive thing about the film is that it never casts its characters in a valiant light; they are simply soldiers who have been sent to do a job, and they do it sparkling the risks, and they do it well in spite of the odds. Mel Gibson, although I generally dislike him as both an actor and a human being, is very, very satisfactory as commanding officer Hal Moore, and he is equaled by Sam Elliot, Greg Kinnear, Chris Klein, and every other actor on the battlefield. The supporting female cast, seen early in the film and in shorter scenes showing the home front as the battle rages, is also particularly heavenly, with Julie Moore able to advise in discover what most actresses could not communicate in five pages of dialogue. The script, direction, cinematography, and special effects are spirited, expeditiously, and absorb a “you are there” quality that is very remarkable.
Randy did have a criticism. “I don’t reflect there would be time for casualty telegrams to actually secure home while the battle was going on,” he said. “After all, it only lasted three days.” I myself had a criticism; there were points in the film when I found the expend of a very modernistic, new-agey share of music to be intrusive and out of spot. And we both felt that a scene advance the slay of the movie, when a Vietnamese commander comments on the battle, to be fantastic and faintly absurd. But these are nit-picky quibbles. WE WERE SOLDIERS is a damn gorgeous movie. I’ll give Randy, who served two tours of duty in Vietnam, the last word: “It may not be ‘the’ Vietnam movie. I don’t deem there could ever be ‘the’ Vietnam movie. But they secure everything good. That’s how it looked and sounded, and that’s what I saw, and this is the best movie about Vietnam I’ve ever seen.”
This is war and it truly is hell. Outnumbered on the field and backed by the politically driven Defense Department of the time, one battalion finds itself outnumbered and fighting for its life in the jungles of Vietnam.
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A unique reviewer here mistook what this movie was about. It is NOT about America’s war in Vietnam and all the ideology gradual it. Its about a battle that occurred in the early years of that war between a fresh type of specialized fighting unit and a very positive enemy. America wanted to assume the enemy for the first time and this is the battle. The only politics enthusiastic here is the decision not to boom a National Emergency thus allowing the Army’s most experienced soldiers to leave at the destroy of their enlistments, when ironically they were most needed. This movie is about a battalion commander training his unit, getting orders and shipping off to war. It also gives an suitable seek at what the wives had to endure during that unpleasant time.
If one wants to stare at the politics of this war, check out HBO’s Path to War. Path to War shows the speech were LBJ sends this unit, the Air Cav, to Vietnam and the political reasoning tedious it. It goes through LBJ’s escalation and McNamera’s change of heart on the winnablity of the war. Highly recommend it.
Buy,Download, Or Stream We Were Soldiers! Click Here
Buy,Download, Or Stream We Were Soldiers! Click Here
Anyway, in realism this ranks up there with Saving Private Ryan. By reading the book you gather a grand better retract of what happened as well as the chronicle not told of what happened at LZ Albany. That encounter was even a worse then what happened at LZ X-Ray.
All told this movie gives the feel of how atrocious, horrowing and confusing first-hand combat can be. One decision can lead to winning the day, or as the movie shows, getting yourself sever off and most of your men killed. As for accuracy to what occurred, a group of soldiers that were there appeared on The History Channel’s “Hollywood vs History” program and they concurred that it was 75-80% correct. 20 - 25% Hollywood. That’s probably a well-behaved ratio indeed. Oh, and the diminutive American Flag at the demolish was steady, not Hollywood. And Sam Elliot deserves an Academy Award for his portrait of American Hero Sgt. Major Basil Plumley.
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