Retour

Sadly and surprisingly relevant, "Coming Home" offers the perspective of one man who's war experience renders him not only paralyzed but unable to deny his own real life experience as a wartime soldier to the extent that he can continue supporting his government's patriotic dogma that one man should kill, torture or oppress other soldiers, men, women and children to defend motives he now views, from a wheelchair, as questionable. Awakening to this perspective is a woman who, attempting to aid the war effort and make herself useful during her husband's time of military service to his country, volunteers her time at the local Veteran's Hospital.

As she encounters the soldiers just returned battle with countless physical and psychological wounds too deep to enable their return to duty, she begins to understand the impossibility of their task to "get back to a normal life" and starts a longer journey out from under her own unquestioning acceptance of obeying principles that manufacture circumstances that make the peaceful pursuits of love and family inconceivable.

Her own husband does return to her, an officer who spent his tour of duty doing what he has accepted all of his life is the "right thing" for his country but he, too, is terribly damaged by what he has seen. When he discovers that he has returned to a wife that has broken both the sanctity of their marriage and the very foundation of their commonality as people - namely, upholding the belief that you must endure and inflict and perpetuate the tortures of Hell, itself, if your government demands it of you - he is unable to find a way forward in his life. As the last institutions that served as the structure of his sanity and happiness are wrenched out from under him, he faces a void too horrible to walk into and turns to the only way out that he can perceive.

This film is shot in what seems a sincere approach to relating the stories that were, immediately post-viet nam, being widely reported of and experienced by those U.S. men and women returning from service. It attempts, via narrative, to correlate them to the cultural experiences of the public. It seems to try to offer insight into the collective trauma inflicted by the very idea that war, as an institutional means of problem solving, is an acceptable and patriotic belief that merits the sacrifice of our lives and sanity.

Though the film definitely has its own perspective, it maintains respect for each of the characters represented. It remains the imperative of each viewer to decide the question for themselves.

Man, I watched this with no idea of what is was about, but I liked the directors other films, I was blown away by this films subtle power. A film like this would not be made today. The 70's was such a great time for film-making. The "risks" that were taken or at least it would be deemed as such in the film climate we are in today. The performances in this film were spectacular, the directing top notch, the pace beautiful and the ending was a punch in the gut to those who want definitive answers. Iloved it. We don't see this nowadays and regretfully probably never will again. At least we can enjoy these masterpieces today and compare to some of the drab nonsense that is produced nowadays. Don't get me wrong there is some great stuff being produced today as well, but you will not see anything as raw and unadulterated as the 70's gem.

This film, the `other' 1978 movie about the Vietnam War, `Coming Home' takes a different approach than Michael Cimino's stark, shocking, `The Deer Hunter', which won a Best Picture Oscar.

Cimino used a power approach to deliver his message, drumming the filmgoer with sounds and images. Hal Ashby's `Coming Home' uses a more subdued, character approach to explore the real price of the Vietnam War.

I'm not so sure I'd agree that either Jon Voight (Academy Award-Best Actor) or Jane Fonda (Academy Award-Best Actress) is exemplary (they both won Academy Awards) but I think they are both very good. The bottom line is that this was an important movie, at a critical time, and the subject matter and its presentation really hit home. This is a film that is impossible to ignore, in 1978, or today, no matter what your political or social sensibilities may be. The language, the attitudes of all the characters is open, honest, frank. At the time this film was made, that was indeed breakthrough, for this subject matter, paramount.

An absolute must see.

The strength of "Coming Home" is its realistic portrayal of the emotional effects of war on individuals far removed from battle. In particular, the film calls attention to the difficulties, hardships, and trauma that paraplegic vets are forced to endure, as a result of governmental neglect. The emphasis here is on life after combat, upon returning home, and the ensuing experiences, personal feelings and relationships, and the drudgery of everyday life. More effective than dialogue, the close-up camera shots of character's faces effectively convey the psychological suffering, the scars, brought about by exposure to war. In this context, I thought Jon Voight's performance was quite good.

The subject matter is so totally ... not glamorous. Yet its importance is undeniable. And so, I respect this film for its intent and its sensitivity. The film's humanistic message is surprisingly relevant 27 years after its release.

That said, the film's screenplay is weak. The plot rambles and meanders. The love triangle seems incongruent with the heavy-duty political message. The film is anti-climactic from start to finish. You keep thinking something big is going to happen. Then at the end, the film dwindles, and eventually just fizzles out. Finally, the background music, an assortment of late 60's pop songs, is intrusive.

Overall, "Coming Home" is less about entertainment than it is about education. I'm not sure that I would choose this film to watch on a first date. But, I would choose it as part of a high school course in governmental ethics.

Hal Ashby's film shares many of the characteristics of the other big Vietnam film of 1978, "The Deer Hunter." Both are passionate and essentially incoherent in their view of the war… As Ashby and screenplay writers see it, most American soldiers who experienced the war came back mentally and/or physically ravaged…

An introductory pool table conversation among several disabled vets establishes the ground rules… Anyone who defends the war for any reason is wrong… Cut to enthusiastic Marine Capt. Bob Hyde (Bruce Dern) and his naive wife Sally (Jane Fonda) in the Officer's Club…

It is 1968…

A military campaign conducted by forces of the Viet Cong has just started and Capt. Hyde is looking forward to his tour of duty in Vietnam... As a dedicated military officer, he sees it primarily as an opportunity for progress… As soon as he leaves, Sally is forced to find housing off the base and moves into a new apartment by the beach with another Marine wife—the bohemian Vi Munson (Penelope Milford), whose traumatized brother Bill (Robert Carradine) is a patient at the local Veteran's Hospital…

Physically, Bill is fine, but "they sent him back without an ignition," Vi says… Lonely and looking for something to do, Sally volunteers at the hospital and runs across embittered cripple Luke Martin (Jon Voight). They soon discover that they went to the same high school, where he was the star quarterback and she was a cheerleader…

Now, paralyzed from the waist down Luke is subject to furious, self-pitying rages, understandable but still unpleasant and offensive… Sally externalizes his troubles, his scars, and his frustrations…And through Luke's eyes, Sally's absolute outlook on life starts to change… They soon become fairly close turning their friendship into a torrid affair… At the same time, Sally's husband was away discovering the horrors of the war…

There was a particular chemistry between Fonda and Voight which gave the film a certain magic