Buenos días, Vietnam

Let me be perfectly frank and say right away that I watched this to experience Robin Williams at his best. That guy has so much comedic talent, it's unreal. I mostly got what I expected from this movie... but I found that it also contained some truths about the Vietnam war. The movie has plenty to offer on both fronts. Any fan of Williams' comedy will definitely enjoy it, and I think most war-movie buffs will too... if they can keep an open mind, and accept a slightly different approach to the genre. The way the seriousness of war is underplayed for most of the film really works to enhance the effect of it when it is shoved right in our faces, when we are forced to acknowledge it. We forget how serious and all-consuming war is, just like Adrian had(not necessarily the real one, I know nothing of him except of what the film told me, and as far as I understand, that's not that accurate a portrayal of him), only to be confronted with it. More effective than several big war movies. The plot is very good. The pacing is great, the movie keeps moving pretty much all through the film. The characters are well-written and credible. The acting is good pretty much all-round, and Williams proves once again that he can do drama just as well as comedy. The humor is typical Robin Williams. A very good film, and an unusual war movie. I recommend this to fans of Robin Williams and war movies. 7/10

Robbin Williams gives the performance of his life, in this funny, yet politically motivated movie, on the no (official) news or miss-information given out (to the troops) at the time of the most controversial conflict of the modern era. A strong supporting cast, including a young Forrest Whitaker are a bonus but the overall story is a bit thin and the love interest (for me) is not fully developed.

Made at a time when films on the Vietnam war were being produced by America at a healthy rate, Good Morning, Vietnam comes across as the sort that falls into both 'types' that were being produced at the time. Platoon got under the skin of Vietnam, telling the events from an individual's perspective through voiceovers without relying on a lot of causality, rather the everyday tasks and events that occur. Full Metal Jacket was an interesting beast in the sense most of its more intense scenes didn't actually happen in Vietnam but rather at home on the training ground. But both were in a sensible tradition and took attention away from the Reaganism inspired 'action' films that were Rambo: First Blood Part II and the like.

Good Morning, Vietnam falls into both these sorts of Vietnam war films. On one hand it is a serious film about the war and deals with serious issues such as morale and how dangerous conflict with the enemy actually is without doing what Rambo did by turning the war genre into a sub-division of the action genre. At one point in the film, DJ and lead character of the film Adrian Cronauer (Williams) finds himself in a hostile area out in the jungle and you do feel the shift in atmosphere the film briefly moves into in the sense this guy is not a soldier but he is in a dangerous position and he isn't equipped with how to get through it. There is another scene in which a street side bomb goes off and Adrian is caught up in the middle of it, further reminding us of the war zone and cleverly shifting the aura.

But the film does fall into the genre of comedy and while it does so, it never distracts us from the fact this is taking place during a war unlike First Blood: Part II which could really have been an action film set amongst any backdrop. Good Morning, Vietnam does not ignore its comedy roots either and gives us genuinely entertaining disc jockey rants from Williams who shines with his animation and ad-libbing, further reminding us of a later film of his, Aladdin, and how he really was the star of that piece.

The best parts of Good Morning, Vietnam actually raise issues to do with oppositional reading. As a character, Adrian is one of those charismatic individuals who is perhaps more focused on entertaining his audience first but when repercussions to do with that want to entertain arise, it is an oppositional reading to something that seems innocent enough. There are a couple of scenes and incidences that deal with this theme of oppositional reading. One that springs to mind takes place in a bar in which Adrian has brought a Vietnamese friend whom he teaches in an English class. The trouble is, it's a G.I. bar and certain soldiers have an issue with the Vietnamese person being there. It is Adrian's carefree and relaxed attitude to letting the individual come with him to the bar that has upset certain others around him, resulting in an oppositional opinion on whether the Vietnamese person should be allowed there. One says he can, others say he can't and conflict erupts.

This battle is constantly going on within the boundaries of the radio studio and exists between Adrian and the censors who blank out all the bad news such as deaths and bombings, failing to deliver the real news, and instead keep morale from going below a certain point. Adrian's style of giving the people what they should hear in a charismatic style also rubs off spawning a sub-story revolving around a small school that teaches Vietnamese people the English language. Before hand, they were learning very basic words and phrases but after Adrian takes over, New York City slang or 'jargon' is the name of the game and while you wouldn't find English as a foreign language classes doing this sort of thing, Adrian brings his charismatic style to a class, turning it from formal to informal.

The theme here is that he's giving them exactly what he feels they need to know, not what the curriculum demand they know. It is the same with the radio station and the news censorship; giving people what they have a right to know vs. what a higher power say they should know. The principal foil for Adrian is Lt. Steven Hauk (Kirby) who is against Adrian's style of parody and constant joking but when he is put on air, the best he can do is adopt the voice and role of a Frenchman as he mocks and plods his way through airtime. It is a battle that the oppositional readers loose since morale falls drastically after Adrian is taken off and he is forced to be reinstated because of this.

Good Morning, Vietnam carries a pumping soundtrack which is what you'd expect for a film about a DJ and an emphasis on radio and its constant referencing to popular culture, gliding from The Wizard of Oz to Eleanor Roosevelt makes Williams' scenes consistently fun to watch. But other than this, it gives some political stances without ever feeling forced with the 'Wonderful World' montage over wartime action and juxtaposes James Brown's music over other scenes of wartime action. The film is a success in comedy and drama, a rarity of sorts given Dr. Strangelove supposedly set the standards.

There never has been, and probably never will be, another film which shows both sides of Williams to such a great degree.

As the wise-cracking disc-jockey, Williams shows his undisputed wild comedic talent, but the bomb scene and scenes of rural Vietnam life, truly allow Williams to such his dramatic acting ability. They look at the conflict, without getting in too deep.

A superb cast as well including Bruno Kirby and the late great J.T. Walsh gives a solid backdrop, and are beautiful foils to Williams.

Overall, a wonderful movie, add it to your collection.

Despite being a fan of Robin Williams' unique brand of scattershot, stream-of-consciousness comedy, I had never seen "Good Morning, Vietnam" all the way through. While I am glad to have finally checked that off my watch list, I do have to say that it underwhelmed me a bit, especially when it comes to any historical or cultural significance outside of its leading man.

For a very basic overview, "Good Morning, Vietnam" tells the story of Adrian Cronauer (Williams), an Army Radio DJ assigned to a Vietnam station in 1965. While his non-conformist attitude ruffles the feathers of the higher-ups--especially Lt. Hauk (Bruno Kirby)--he quickly inspires fellow soldiers in every corner of the conflict.

There is absolutely no doubt or denying that "Good Morning, Vietnam" sees Williams at perhaps the peak of his comedic zenith. Every single scene of him DJ-ing the station will have you laughing out loud. His fast-talking, reference-alluding style is so unique that it's sort of a one-of-a-kind experience. Personally, I very much consider this entire film to be little more than a showcase for his talents.

Which leads me to the unfortunate part of this experience for me: aside from Williams, I really didn't get much else out of "Good Morning, Vietnam". While it is pretty clear what the writers and director Barry Levinson are trying to accomplish character-wise, it all seems a bit cloying, predictable, and sometimes even a bit cartoonish. The Army is inflexible, Williams is the fly in the ointment, and we all bemoan the pointlessness of the whole ordeal. Maybe this all hit a little closer to home in 1987, but watching in 2020 it felt a bit overcooked in terms of stereotypes.

Overall, though, the sheer presence of Williams makes this a very watchable film, albeit perhaps a bit overrated from a historical perspective. Come for Williams, but your mileage may vary regarding the other material here.