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We Were Soldiers Review At Amazon..
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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 Noted Flying Infamous, 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 disapprove 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 bewitching movie that captures the paranoia, but all the technical details are wrong; and describes DEER HUNTER as honorable in its depiction of the strangeness of coming home but so burly of status holes that he can hardly endure it. And about one and all he says: “It wasn’t like that.”
He was peaceful through the film, and when we left the theatre I asked what he understanding. He said, “They finally got it. That’s what it was like. All the details are lawful. The actors were impartial 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 acquire 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 break. I went to remove him up and all the skin fair slid apt off. It looked fair like that, too. I’ve never told any one about it.”
In most respects WE WERE SOLDIERS is a war movie monotonous 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 clear ambush–but the film is not so grand alive to 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 pleasurable 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 dauntless light; they are simply soldiers who have been sent to do a job, and they do it bright the risks, and they do it well in spite of the odds. Mel Gibson, although I generally disapprove him as both an actor and a human being, is very, very fine 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 lovely, with Julie Moore able to say in view what most actresses could not communicate in five pages of dialogue. The script, direction, cinematography, and special effects are piquant, mercurial, and bear a “you are there” quality that is very great.
Randy did have a criticism. “I don’t judge there would be time for casualty telegrams to actually win 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 location. And we both felt that a scene approach the demolish of the movie, when a Vietnamese commander comments on the battle, to be fabulous and faintly absurd. But these are nit-picky quibbles. WE WERE SOLDIERS is a damn splendid 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 net 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 unusual reviewer here mistook what this movie was about. It is NOT about America’s war in Vietnam and all the ideology tedious it. Its about a battle that occurred in the early years of that war between a novel type of specialized fighting unit and a very positive enemy. America wanted to consume the enemy for the first time and this is the battle. The only politics keen here is the decision not to utter 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 salubrious gawk at what the wives had to endure during that poor time.
If one wants to inspect 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 leisurely 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 secure a mighty better occupy of what happened as well as the memoir 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 immoral, horrowing and confusing first-hand combat can be. One decision can lead to winning the day, or as the movie shows, getting yourself crop 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 capable ratio indeed. Oh, and the diminutive American Flag at the raze was right, not Hollywood. And Sam Elliot deserves an Academy Award for his portrait of American Hero Sgt. Major Basil Plumley.
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