Windtalkers

The film is actually quite good. One of the main drawbacks about this film however is its focus. The timing seems off regarding some aspects in my view, which is the fault of the director. John Woo is better at creating beautiful looking battle scenes than he is at letting characters capture their moments and develop. At times the war violence definitely also looks too impressive and choreographed, which in another way slightly takes away from the film. Are we watching a ballet, or a war film here? At the same time the story is mostly very good and Cage in my view was excellent. Even despite a director who's not overly great with developing characters and allowing us to feel them fully. Somehow, Cage still manages to create something special here. Despite what anyone may say about Cage, the guy, when given the right role can knock it out of the park. He pretty much does here. The film and his character in some ways are certainly a little Hollywood cartoonish one could say, but you also have to give some credence to the fact that some people really were and are brave war heroes. Extraordinary events like war can lead to extraordinary actions by human beings, sometimes both good and bad.

I have heard there is now a Director's cut of this film available, and to be honest I'm not sure what version I saw, since I just streamed it. Anyway, even so, there's little doubt in my mind that the best Cage/Woo film will probably always be, Face/Off. Nonetheless, this film is well worth checking out too. 7/10.

First, the bad: Nicholas Cage's over-the-top, suicidal maniac, idiotic self-pitying marine played with no subtlety at all. Peter Stormare's lousiest performance to date, he's been going downhill since the excellent work in FARGO. Perhaps that one was just luck for him, and a good script. Excessive battle scenes, so much so as to give the viewer shell-shock too. For these, a ONE.

The good: both Adam Beach and Roger Willie give solid, well-bodied performances as the Navajo code talkers. The effort to recognize the contribution of the Navajo code talkers is a very positive aspect here, and for these reasons the film deserves a NINE. I give it an average of FIVE.

When watching the trailer of Windtalkers, one gets the impression that this film is about the Navajo indians and how their native language was used to create a code that could not be broken by the Japanese. However, it turns out that this film is really about a white army seargeant (Nicolas Cage) and how he eventually befriends the codetalker (Adam Beach) that he is responsible for protecting.

Director John Woo doesn't disappoint with the action sequences. All of them are breathtaking and highly detailed. However, all of this action tends to take away the emphasis on the story. No matter, the scenes that show the developing friendship between the two seargeants (Cage and Christian Slater) and the codetalkers (Beach and Roger Willie) gives Windtalkers its heart. (7/10)

I just watched the director's cut on DVD after having seen the theatrical cut some time ago.

Plot summary: In WWII, a code based on the Navajo language was used to securely communicate between US troops in the Asian Pacific, without the Japanese eavesdropping. We follow two Navajo code talkers and their US Marine "bodyguards" as they go into combat on a Japanese island.

A lot has been written about this somewhat flawed John Woo movie. After having seen both versions, my main disappointment is still that the two code talkers seem like background characters. A movie with a lower budget, without big Hollywood stars put in the foreground would probably have been more satisfying. Maybe that movie should have been done by another director too, I don't know.

Enough good "general" war movies have been made. The code talker part of the story should have been made much more pivotal as was done here.

I'm a fan of Woo's Hong Kong and Hollywood work. The director's cut of Windtalkers doesn't turn a mediocre Woo film into a masterpiece, but it is certainly an improvement.

Main advantages of the DC are more fleshed out characters. You get more background on all main characters, including the two Navajo code talkers. I felt more involved. As a result, the code talker part of the story is served better, but still not enough to my taste. The DC also has more uncut battlefield scenes. Woo really shows his talent here, with raw yet beautifully shot war action. You get the sense that you are in the middle of the action.

I was particularly interested if a scene was put back in where a US soldier takes a golden tooth from a Japanese corpse. This scene was described in several documentaries about censorship by the US Army. Not completely surprisingly, this scene was also absent from the DC.

If you are a Woo fan or already appreciated the theatrical cut, it may be worth checking out the director's cut.

My ratings: 6/10 for the original cut. 8/10 for the director's cut.

I finally watched this movie, it long caught my interest but fell of my radar for years. I do recommend watching this movie--at least until some independent filmmakers (or streaming studio) makes a worthy version of this story. The story is incredible. As an high-tech engineer, I am blown away by the fact that the human brain and unusual language was able to solve a real-time encryption problem decades ahead of any possible other technology. Sure, machines like enigma could be used, but, that is a heavy and vulnerable asset to drag around on the front lines. Really heroic story, and even more moving given the lack of respect shown to native Americans since the European invasion of their homelands.

Incredible human drama. Great performances by the lead Navajo actors. Cage was his usual fantastic self, despite the flimsy lines he was given. The rest of the movie was---meh. Typical Hollywood narcissism. Spend most of the budget blowing things up and sending people careening in all directions in bits and pieces. Zero depth to any other characters, including the Japanese, who were little more than animated cardboard cutouts screaming and shooting. This movie should be a poster child for the imminent demise of the Hollywood glory days, following in the path of cable TV as they chase each other down in a great swirling flush. The best thing about the streaming media revolution is that it busted up the Hollywood empires, and with that I have hope in a retelling of this story by more intelligent, skilled hands.