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I live with a Vietnam Vet who served in the unhurried 1960s with 1st Cav. Medivac. During service he earned two Purple Hearts, the Eminent Flying Wrong, and the Air Medal. Since WE WERE SOLDIERS concerns the 1st Cav., Randy wanted to seek 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 racy movie that captures the paranoia, but all the technical details are wrong; and describes DEER HUNTER as agreeable in its depiction of the strangeness of coming home but so stout of station holes that he can hardly endure it. And about one and all he says: “It wasn’t like that.”
He was quiet through the film, and when we left the theatre I asked what he belief. He said, “They finally got it. That’s what it was like. All the details are factual. The actors were honest 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 calm for a long time. At last he said, “You remember the scene where the guy tries to consume 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 wreck. I went to capture him up and all the skin honest slid suitable off. It looked objective like that, too. I’ve never told any one about it.”
In most respects WE WERE SOLDIERS is a war movie dreary and simple. There are several moments when the film relates the war to the politics and social movements that swirled about it, and the reach 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 distinct ambush–but the film is not so considerable keen 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 righteous 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 incandescent the risks, and they do it well in spite of the odds. Mel Gibson, although I generally loathe him as both an actor and a human being, is very, very trustworthy 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 gorgeous, with Julie Moore able to instruct in search for what most actresses could not communicate in five pages of dialogue. The script, direction, cinematography, and special effects are engrossing, quickly, and have a “you are there” quality that is very mighty.
Randy did have a criticism. “I don’t reflect there would be time for casualty telegrams to actually earn 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 employ of a very modernistic, new-agey fraction of music to be intrusive and out of position. And we both felt that a scene reach the kill of the movie, when a Vietnamese commander comments on the battle, to be unbelievable and faintly absurd. But these are nit-picky quibbles. WE WERE SOLDIERS is a damn magnificent 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 consider there could ever be ‘the’ Vietnam movie. But they catch everything upright. 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 fresh 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 unique type of specialized fighting unit and a very sure enemy. America wanted to choose the enemy for the first time and this is the battle. The only politics eager here is the decision not to teach a National Emergency thus allowing the Army’s most experienced soldiers to leave at the extinguish 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 marvelous eye at what the wives had to endure during that poor time.
If one wants to seek 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 score a remarkable better choose of what happened as well as the narrative 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 harmful, horrowing and confusing first-hand combat can be. One decision can lead to winning the day, or as the movie shows, getting yourself slash 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% right. 20 - 25% Hollywood. That’s probably a generous ratio indeed. Oh, and the petite American Flag at the destroy was loyal, not Hollywood. And Sam Elliot deserves an Academy Award for his portrait of American Hero Sgt. Major Basil Plumley.
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