Vietnam Week 6: Comic Relief

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam. Considering the subject matter of most Vietnam films, it is understandable that there are not a whole bunch of laughs. Even Good Morning, Vietnam had very serious undertones. Today's film goes full comedy. This is Tropic Thunder.

British director, Damien Cockburn (Steve Coogan), is making his first feature length film based on a book by Four Leaf Tayback (Nick Nolte. This book tells the tale of a near suicide mission that happened in Vietnam in which only four out of ten men that went on the mission returned. Cockburn has to direct a misfit cast consisting of blockbuster star Tugg Speedman (Ben Stiller), multiple Oscar winner Kirk Lazarus (Robert Downey Jr), comedy star and drug addict Jeff Portnoy (Jack Black), rapper Alpa Chino (Brandon T. Jackson), and newbie Kevin Sandusky (Jay Baruchel). Deciding that his crew are too up-their-own-arses for their own good, Cockburn, with the help of Tayback, rigs the forest with cameras and explosives to create an all too realistic experience. Method acting to a new extreme. But almost straight away, things become too real; it is no longer just a film.

It was a black day for Robert Downey Jr

Comedies, not renowned for for being prestigious in acting terms (for a more detailed look into comedies and how they are viewed in the overall world of films, read this feature) Tropic Thunder gained Robert Downey Jr an Oscar nomination for Best Actor in a Supporting Role. He completely deserves it of course for his portrayal of an Australian actor (Lazarus) playing an African American troop and with such conviction, it is hard to tell that it is the same man that plays Iron Man or Sherlock Holmes. The other actors are what you would come to expect of them. Not to say they are overly typecast, they are just as funny as you would expect them to be. Steve Coogan, an actor in particular who simply is not in as much as he should be, is hilarious as the dimwitted director. His timing and reactions are so perfect, it is impossible to see anyone else playing that role.

The cast soon lost their heads

Shot like any other Vietnam films - with plenty of parody shots - the colour of the film is completely captivating like the serious films. The many explosions contrasting beautifully with the blue sky and green trees. The pyrotechnics, thanks to the advancement in technology, are simply brilliant. But really makes this film outstanding is the hilarious writing.  A wonderful twist on not just the Vietnam genre but also the meta-comedy. This isn't a film of a film, this is a film of a film of a film going wrong. It is so post-modern it hurts one's brain to think about it too much. Everything about the film is comically perfect and you will be laughing from start to finish, no doubt.

A hilarious film that will round off a Vietnam movie session perfectly. After all the brutality and grit, it is nice to see a gentle mockery of the genre and a poke at film making itself. A range of different humour to tickle any audience's funny bone. A must see.

Best Bit? Having recently watched Platoon, the teasing of the famous scene in which Dafoe runs out of the forest and falls to his knees suddenly has a new found hilarity.

Vietnam Week 5: Radio

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam. If you've been watching the films I've been reviewing this week, there is a high possibility you have heard a radio playing in the background of the action. If so, you have probably heard the title of today's film: Good Morning, Vietnam.

Based on a real DJ for the US Armed Services Radio station in Vietnam, Adrian Cronauer (Robin Williams), Good Morning, Vietnam tells the story of Cronauer and his 'outrageous' acts on the air. Adored by the troops out in the field but hated by his commanding officers, Cronauer balances on a fine line that is controlled by his constantly being censored and being threatened by the higher commands, Lt. Steven Hauk (Bruno Kirby) and Sgt. Major Dickerson (J.T. Walsh). However, no matter what, he always has Edward Garlick (Forest Whitaker) looking out for him, even in his endeavours to find love with a young Vietnamese girl and befriending a young boy called Tuan (Tung Thanh Tran). His commitment to constantly keep the troops laughing is harder than any mission in the actual field as he can't read the stories he wants to, play the music he wants to, or, most importantly, tell the jokes he wants to. Staying out of trouble is not easy.

Even a successful comedian bombs...
But not the same way as the troops.

For his performance, Robin Williams was nominated for Best Actor in a Leading Role at the 1988 Oscars, eventually losing out To Michael Douglas in Wall Street. Williams, commonly thought of as a less serious actor, being nominated for an Oscar. Did he deserve it? Yes, completely. What Good Morning, Vietnam does so well is it is a solid base for Williams to ramble on with his style of comedy - most of his broadcasts are completely improvised - but it also provides small, yet crucial, moments for some real heart felt acting. The contrast between the light hearted, incredible, improvised speeches and the times when Cronauer is genuinely distraught or upset is a juxtaposition that only the finest of actors can pull off with such clarity and conviction. There is not a bad piece of acting in the entire film; all the supporting cast are absolutely fantastic. The characters are all so distinctive in their personalities that the audience immediately know who to like and dislike without needing an extra half an hour for character development. Truly superb.

Williams misunderstood when people
said his mouth was too big for the mic.

What this film does that many other Vietnam films don't do is it looks far more heavily at the serving members of the military forces that have a comfy seat. While it does still emphasise the fact that there is no front line in Vietnam and anyone could be attacked, it shows that there was another side to the war that was not all grit and death. The Vietnam film with the most heart by a long shot. Not only does it introduce a love story underneath the main plot, but it also introduces the idea of true friendship and betrayal, not just comradery. It has a soundtrack full of old favourites and classic tunes to present the idea that we are like the troops, listening to whatever Cronauer decides he will play.

A perfectly simple plot that combines comedy and heart like very few films do. Not only was it funny and touching, it was also extremely enjoyable. Perhaps it is the lack of constant death, or the high spirits of the radio troops, but there's something far more pleasurable to watch in Good Morning, Vietnam than other war films. 

Best Bit? Cronauer's touching and heartfelt speech towards Taun towards the end of the film. Anger, respect, guilt, desperation, upset... All these emotions and more come out in one scene. Super. 

Vietnam Week 4: Food Fight

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam. Today's film is based on one of the bloodiest battles during the Vietnam war. The plot is based on true events though the characters are fictional and unlike other Vietnam films, today's film searches to tell the truth over entertaining its audience. This is Hamburger Hill.

Hamburger Hill, or Hill 937, in the A Shau Valley of Vietnam is of little strategic advantage for the U.S. Military but it is heavily fortified by the North Vietnamese. The film follows a squad of 14 men as they persevere in a brutal ten day battle to try and claim the hill. There is no real protagonist and an almost anonymous enemy; simply gunshots in the distance. This is no mere attempt at entertaining a wider audience, however. The film is an honest account of the chaos and brutality that was the Vietnam War. As that is the entire plot covered, let us move on. 

What happens when 'got your back' is misunderstood...

The start of several big stars film careers, including Don Cheadle, but only two of which really stand out. The first is Courtney B. Vance as Spc. Abraham 'Doc' Johnson. Doc, as a black man in the 1960s, has had his fair share of abuse and you can see how that translates into his attitude toward the war. There is clearly an anger towards those in a position of power over him and that, because of his race, he won't have that power, but also there is a strong feeling of comradery towards his fellow soldiers. He points out that, on this hill, they are all equal. The second stand out performance comes from Dylan McDermott as Sgt. Adam Frantz. The reason McDermott stands out is simply due to how cool he is throughout the film but, as things turn serious and friends start dying, we see his defences break down and his sanity slip until all that he has left that matters to him is getting up the hill. A wonderfully realistic performance. 

The Karaoke night never pulled out a big crowd.

There is very little to say about the film that the tagline doesn't: 'The most realistic portrayal of the Vietnam War ever filmed . Because it's the only one that's true.' That is exactly what it is. This is a brutal and gripping tale of a single moment in the war. There is no over complications with secondary story lines, there is only the hill. The wonderful contrast between the actual fighting and the downtime between gunfire, combined with a near perfect soundtrack, create an eerily accurate atmosphere. What really makes it stand out from other Vietnam films, however, is the fact it doesn't hold the focus on an individual's death. There is no slow motion, no screaming and crying and hugging it out. It is war and people die. The effects are clear without needing to make it too explicit. 

A good film. A great story. As a film, it lacks the entertainment value that the other Vietnam films have. There is less artistic license used. The men have strict uniforms and they stick to their rules and regulations. Whilst this is a more honest approach to film making, it is less watch-able (perhaps why it comes in as the shortest film this week.)

Best Bit? There is something horribly captivating about the assault in the rain. Watching the men hopelessly slide back down the hill after fighting to get up is heartbreaking but I challenge you to look away.

Vietnam Week 3: -Insert Bullet Description Here-

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam. Today we look at Kubrick. As we all know, Kubrick is known for his masterpieces: 2001: Space Odyssey, A Clockwork Orange, The Shining etc. This would lead one to presume that if he made a Vietnam film, it would be excellent. Well, he did, but does it live up to the expectations surrounding it? This is Full Metal Jacket.

Not just an analysis of the war in Vietnam, but also the brutal training that led to it - the war split into two narrative halves. The first half is boot camp and the soldiers training under the watchful and cruel eye of Gunnery Sergeant Hartman (R. Lee Ermey) who is not just tough but heartless, especially towards Private Leonard 'Gomer Pyle' Lawrence (Vincent D'Onofrio), an overweight and unstable recruit. Eventually, Private Pyle is put under the command of Private J.T. 'Joker' Davis (Matthew Modine) who teaches him enough (and organises motivational punishments)  to get him through boot camp. The second half of the film focuses on Private Joker in his military career as a Stars and Stripes correspondent. we see him trying to find news that appeals to the military eye rather than the completely truthful eye. Teaming up with his good friend from boot camp, Private Cowboy(Arliss Howard), and some of his men, Eightball (Dorian Harewood) and Animal Mother (Adam Baldwin), he goes out to experience the 'front line' of the war.

The recruits had a bit of time for practising their
defence against a free kick in football/ soccer. 

There is a real shame in the acting in this film. While all the actors are fine and dandy, the two best actors are only in the first half: R. Lee Ermey and Vincent D'Onofrio as Gunnery Sergeant Hartman and Private Pyle respectively. Ermey, having formerly been a Drill Sergeant, obviously knew his role back to front. Half of his most famous lines and scenes were completely unscripted and yet, you would never know. His character never falters (except for a split second when a gun is pointed at him) and because of this, he provides one of the rawest and most real performances cinema has to offer. D'Onofrio, on the other hand, has a reserved crazed aura about him. Whilst it is clear that he is not quite mentally stable, Hartman never seems to treat him differently and even compares him, indirectly, to Lee Harvey Oswald and Charles Whitman. What D'Onofrio  does so well is build gradually to a complete breakdown. The first signs of crazy are introduced through speech but Pyle shows that it's not going well for him.

A film with a film in it. Woah.

Stanley Kubrick is, no doubt, a cinematic genius. The film, from start to finish, is shot like no other war movie. With more tracking shots than you can shake a stick at, Full Metal Jacket seeks not to show the grit or horror of war, but to give a clearer, external perspective of the action of the Vietnam War. Almost post-modern in its approach in this sense - there's one scene in which Private Cowboy's men are all slumped down as a documentary crew pass and the camera sot follows the camera crew. One of the finest soundtracks in the entire film genre too; extremely jarring with what is actually on screen and, somehow, this really works. The films real success is in its dialogue. From the constant brutality of Hartman, to Joker's wit, one thing is always consistent: the quality of what is being said. Simple conversations can raise huge points which many films fail at. (One Colonel asks Joker, 'You write "Born to Kill" on your helmet and you wear a peace button. What's that supposed to be, some kind of sick joke?' and just like that, the subject of war and the duality of man is a prominent issue.)

A great war film with an outstanding first half. The second half, while still good, is significantly weaker but the entire movie is rounded off with possibly the most bitter sweet ending known to man. While not one of Kubrick's greatests it is still a must see for any of his fans or fans of the war genre, even if it is just for the first half.

Best Bit? Well, it has to be the first time that Hartman goes around insulting the men. More quotable lines than the entirety of Mean Girls.

Vietnam Week 2: War Is Not Nice

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam.Yesterday’s filmed starred Martin Sheen, today we look at his son. Renowned more now for his drug abuse and his Tiger Blood breakdown, Charlie Sheen has become a bit of a joke in the media. But let us go back to when he was a serious actor and what could be more serious than Vietnam. This is Platoon.

Based on Oliver Stone's experience in Vietnam, the film’s events should arguably be a more truthful representation on the war. Young and naive recruit, Chris Taylor (Charlie Sheen) has just arrived in Vietnam for his tour of duty. He's one of the few men who chose to come to Vietnam after dropping out of college and he soon finds out that he is not the most respected of figures to to the lack of his war experience. Like most of the men in his platoon, he gets torn between two non-commission officers: the rough, tough, and indestructible Staff Sergeant Robert Barnes (Tom Berenger) and the nice, fatherly Sergeant Elias Grodin. (Willem Dafoe) In between fighting and smoking pot, the platoon experience ambushes, death, destruction, illegal killings, and rape - all of which start to push towards a psychological breakdown. This is not just a war in Vietnam, this is a war with a single platoon of men.

And that's before Sheen was known to be dirty...

It is hard nowadays, perhaps, to picture Sheen as a serious actor. Ironically, he got the role over Johnny Depp because Depp was not well known. How times have changed. But there was a reason that Sheen got the role: he is good. Starting off as an innocent college drop-out, desperate to do his part for his country but slowly his sanity starts to slip and we see his evolution from naive boy to hardened solider. But both stand out roles come from the polar opposite officers, both of which received Oscar nominations.That is Berenger as Barnes and Dafoe as Elias. Their hatred of one another is so clear and through their performances they manage to raise philosophical questions regarding the duality of man: does the war shape the men and if so how did they end on such opposite ends of the scale. It takes a really good performance to delve into philosophy. the supporting cast, too, are excellent additions to the film, especially John C. McGinley as Sgt. O'Neill, Barne's biggest supporter. The cockiest character throughout out the film until a request of his leaves him broken and fearful for the climax of the film, only to be followed by what would normally be considered good news, but not for O'Neill.

Despite not being the main part, Depp was still there.

Written and directed by a Vietnam veteran, Oliver Stone, there's no doubts about the realism of the film. The actors, prior to filming, had to participate in an intensive 14 day military training camp which finished the day before filming. There is method acting, and then there is this. Actors so exhausted they almost vomited, actors almost falling out of helicopters, actors who were just as happy to finish filming as they would be to leave 'Nam. A brilliantly directed film though. Some incredible action sequences and some horrifying moments. There is a real sense of the hell - as Taylor describes it - that was in and around Vietnam. With no front line, anyone could be attacked any time. It shows that the strong can be weak and the intelligent can break down. If I have one main complaint about the film it is the overuse of Adagio for Strings on the score. I'll die happy if I never hear it again.

Another good, gritty, realistic representation of the war in Vietnam. Again, it shows the true horror that the war installed in the fighters from both the U.S. army and the Vietnamese army and the innocent people that were just living their lives through the war.

Best Bit? [SPOILER ALERT] Well it has to be the iconic scene with Elias running from the Vietnamese before falling to his knees, heavily wounded, arms outstretched, taking bullet after bullet. Classic.

Vietnam Week 1: Apocalypse Then

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam. Our first film, stumbles in at number 36 at IMDb's top 250 and number 7 on Empire's Top 500 and so we can surely be assured that it is a good'un. Let's not beat around the bush and dive right into Vietnam. This is Apocalypse Now.

During the Vietnam War, Captain Willard (Martin Sheen) - a man known for his actions on missions that simply do not exist - is recruited for a new mission: to find and terminate Colonel Walter E. Kurtz. (Marlon Brando) The Colonel has vanished into the depths of Cambodia and has gone mad. Claiming to be a god to a local tribe, the U.S. Military think it is best that he is removed from their payroll. The mission requires urgency and secrecy and so Willard teams up with a boat crew of four men (Jay 'Chef' Hicks (Frederic Forrest) Lance B. Johnson (Sam Bottoms) Tyrone 'Clean' Miller (Laurence Fishburne) Chief Phillips (Albert Hall)) who take him on their boat and head off toward Cambodia. Finding help and hindrances along the way – both, at points, in the form of Lieutenant Colonel Bill Kilgore (Robert Duvall) – the Captain becomes fixed on his mission and will not rest until it is completed.

Lance's teapot dance wasn't quite the threatening war chant he wanted.

It is a funny thing, casting. What would the film be without Martin Sheen as Willard? What would it be without Brando as Colonel Kurtz? Two iconic performances that almost never were. Martin Sheen was nowhere near the first choice for the role; the original actor was fired two weeks into shooting. But it sometimes seems that fate is on a film’s side. Martin Sheen, despite having a heart attack during filming, performed with such conviction and clarity that the character of Willard will not be forgotten any time soon. The calm surface that Sheen portrays that, at points, just evaporates. His acting shows that Vietnam has a bad effect on the mind, no matter how messed up the mind already was. Brando, despite being the biggest pain in any director’s backside ever, was incredibly intimidating. Considering he makes a whole tribe bow to his whim, he has to have an aura of power and strength, which he nails on the head. Admittedly, this may be more due to the clever direction as Brando had done no preparation for the part and had ruined his physical appearance, but, for argument’s sake, we will remember that Brando is an incredible actor. The rest of the supporting cast are brilliant and there is simply no way to review them all. They are all incredible.

'Put your fingers like this when you run out of ammo...
It'll look like ya have a gun.'

A gritty and realistic look at the war in Vietnam. Francis Ford Coppola famously described the film with the quote, 'My film is not a movie; it's not about Vietnam. It is Vietnam.' With plenty of input from real Vietnam veterans, it is hard to believe that the film would not be a life like representation of the horror… the horror that was Vietnam. A shoot that went on for 16 months and way over budget and had Ford Coppola threatening suicide, the film possibly stopped being realism – a representation of the real – and became real. Originally was intended to be shot as a faux-documentary during the actual war but due to issues with timing and power, the film only went into production after the fall of Saigon and this could have been the best thing for the film. The way the film is shot is one of its best aspects. The constant tension throughout the film, built up as we watch the soldiers relaxing, is commonly brought to the most engaging climaxes that truly capture the chaos of the actual fighting in the war. Not to mention how ironically beautiful the film makes Vietnam seem: exotic colours, giant sunsets, coloured smoke rising up into the sky next to blazing fires; simply gorgeous.

There is no doubt that Apocalypse Now will forever be known as one of the greatest war films ever made, and some will argue that it is simply one of the greatest films ever made. Considering the term ‘apocalypse’ and the connotations surrounding it, the film really lives up to its name. If the world were to end tomorrow, it would not be a far off to assume that it will be a little like this film. Slightly haunting, slightly – and confusingly – beautiful, but completely amazing.

Best Bit? The boat is powering towards Cambodia. Lance B. Johnson releases a flare and dances around the boat surrounding them in a purple haze. Everything, for a brief moment, is glorious. Then, suddenly, the boat comes under fire. The juxtaposition, combined with the incredible colour and camera work, makes this scene stand out – for me – more than any other. 

Movies That I Haven’t Seen But Should Have - Part 6: Neo-Nazi

There are a lot of movies I'm ashamed to admit I've never seen. But rather than pretend I've seen them or change the subject when they’re mentioned, I've decided to share them with you. These films that are cult classics or masterpieces that I have missed or avoided, I am sitting down to review. Today's film is rated at 35 on IMDb's top 250 and, somehow, a lot lower at 311 on Empire's Top 500. It contains one of the most famous scenes in film and deals with a sensitive subject: racial prejudice. This is American History X.

Derek Vinyard (Edward Norton) is a white supremacist, he dates a white supremacist  Stacey (Fairuza Balk), and his views have made his brother, Danny (Edward Furlong), a white supremacist. One night, his car is broken into by some black men and, after Danny raises the alarm, Derek bursts out of their house and kills two of the three men - one with the famous Curb Stomp scene. Arrested at the scene of the crime, he gets taken away to a predominantly black prison. Flash forward three years. Derek is released from prison and Danny is getting in trouble at school for writing a paper about 'Mein Kampf'. Despite Danny being on almost the same path that his older brother took only a few years before, the principal of the school, Dr Bob Sweeney (Avery Brooks), firmly states that he won't give up on this Vinyard. He becomes Danny's personal teacher of a new class, American History X, and tells him to write a paper on his brother's incarceration. Danny goes off instead with Derek's old friends, Seth (Ethan Suplee) and Cameron (Stacy Keach), to party and show their hatred for the minorities in their community. But Derek won't let his brother follow too closely in his own footsteps, even if it means leaving behind the world he once ruled.

'I hate black guys this much'

There are simply not enough words to describe Edward Norton in this film. From adolescent teenager, to violent gang leader, to reformed big brother, he can do it all. Not only can he perform all of these different aspects of one character, he performs them with such realism it becomes somewhat scary - especially before Derek is arrested. Despite being a skinny man, Norton's Derek is one of the most imposing men that cinema has ever offered. Even during his arrest, a slight smile will send unease through every viewer. And on top of this, the complete juxtaposition from his violent neo-nazi attitude to his caring big brother persona is so seamless and amazingly well acted. The role of Derek solidifies Norton's position as one of the most talented actors in Hollywood, only a year before Fight Club was released. The rest of the supporting cast are also brilliant. Of course, Edward Furlong was the driving force behind the whole movie. He did a superb job of showing the naivety and troubled nature of Danny, the two key aspects that lead to him following his brother, and later having trouble doing what anyone tells him. The deep conflict of a brainwashed youth, something that the film investigates intensely.

And the award for worst timed screencap goes to...

The contrast of the black and white film for the past and the colour for the future is simply a thing of genius. Who said symbolism was dead?  An incredibly written and edited piece of cinema - though who to thank for that is not quite clear. Director Tony Kaye edited it a few times before opting to having his name removed from the film and replaced with Humpty Dumpty (The Directors' Guild Of America refused to let him and so he sued them for $200m+). So whoever is to thank, they did a very good job with this film. A perfect mix of explicit and implicit material. The film shows that, despite the horrible ideology behind the gangs, they are still just people. The humanity that is shown in Derek is somewhat jarring in the mind because, as an audience, we expect to hate these characters and everything they stand for, but Derek shows love for his family and a longing to protect people. Much like the video of Hitler flirting Eva Braun, it makes the viewer uncomfortable to see someone so horrible being... well... human. A perfectly structured film.

A simply outstanding film. One that shows that Fight Club was not just a lucky break for Norton, he is just a brilliant actor. With such fantastic performances from the entire cast, it is hard to see anyone not thinking this film is a masterpiece of cinema. Watch it. Now.

Best Bit? Both the basket ball scene and the curb stomp scene are incredible. Surely will be remembered for decades to come.