Guerrieri dell'inferno

Criticised for it's amorality and drug use I personally can see Dog Soldiers as nothing else than an anti-drugs film. The heroin that caused such misery and death ends up in the sand by choice. Sickened and disillusioned after Nam, Converse, played brilliantly by Micheal Moriaty virtually blackmails his friend Ray Hicks into smuggling in some Heroin in a cynical what-the-hell gesture against the world. His wife is already hooked on prescription drugs and eventually goes on the heroin. He is out of his league and is forced by corrupt policemen to hunt down Hicks and his wife after they go on the run with the smack. Hicks is a violent man, recently turned on to Nietchze by Converse who considers Hicks a psychopath and is through "taking sh*t from inferior people", vowing destruction on anyone who takes him on. Falling in love with the girl Hick's reveals a surprising tenderness in looking after her. The Converses are seemingly indifferent to Hicks until they realise too late the unexpected Christian sacrifice he makes on their behalf although they wronged him and were unworthy of it.

Nolte, an actor allegedly as eccentric as his fictional character, gives a

multi-faceted and compelling performance as the alienated Hicks. The powerful ending and gesture by the man gives hope and suggests that ultimately friendship is the one true gift one can give to another outside the cynical buying and selling of people as represented by the heroin. Some uneven pacing is the only flaw in an adult, gripping, unusual and often witty American classic.

A Vietnam veteran, Ray Hicks (Nick Nolte), gets conned into helping an old Marine friend, John Converse (Michael Moriarty), smuggle drugs into the country but ends up having to go on the run with his friend's wife, Marge Converse (Tuesday Weld), when the deal goes sour. Involving old buddy Nolte and Tuesday Weld in their doomed dope deal, only to wind up on the lam. Things go wrong, it precipitates an exciting chase by a motley group (Anthony Zerbe, Richard Masur, Charles Haid, Ray Sharkey) through the corrupt moral wasteland of counter-culture/CIA- culture America. Try to rip him off and he'll rip you apart!. A week ago they were strangers. An hour ago they were lovers. Now they are targets !.

Thrilling and compelling story of late-60s disillusionment. Dealing with a traumatised Vietnam war correspondent can draw no more cheap morals from the bloody absurdity around him . ¨In a world where elephants are pursued by flying men, everyone's gonna want to to get high¨, Nolte reasons , as he blindly steps into the heroin business and joins the Dog Soldiers. On the way, power-play is mirrored in the casual sadism of the pursuers and the conventional 'MacGuffin' theme of the 2kg bag takes on a metaphorical charge. This film results to be a notable blend of drama, action, suspense and tragedy. Based on Robert Stone's novel 'Dog Soldiers', here Nolte gives a nice acting as a temperamental Vietnam vet who's enlisted in a smuggling scheme to transport a large amount of heroin into California. Along with the three main actors: Nolte, Weld, Moriarty, providing enjoyable interpretation, there's a splendid plethora of secondaries, such as: Anthony Zerbe, Richard Masur, Ray Sharkey, Gail Strickland, Charles Haid, Joaquín Martínez, and David Opatoshu. Outstanding period musical score by composer Laurence Rosenthal and catching songs from Creedence Clearwater Revival, including title song. As well as colorful and evocative cinematography by cameraman Richard H. Kline, shot on location in Durango, Mexico and San Diego, Oakland, Arch Street, Berkeley, Newhall, California, USA.

The motion picture was well directed by Karel Reisz. He nimbly avoids the usual issues, finds the pace of his material early and sustains brilliantly, emerging with a contemporary good film of hard-edge adventure and three superb character studies. Deemed to be one of the most influential 'British New Wave' directors, Reisz was a prestigious editor, writer and filmmaker. In the 1950s he was one of the founders of the Free Cinema movement. His subsequent feature films have often tended to focus on working-class angst and class structure in general, with social outcasts at their center. He wrote his famous book, "The Technique of Film Editing", before becoming involved in professional filmmaking, it was reviewed - not entirely favorably - by an actual film editor, Seth Holt. When Reisz made his first feature film, Saturday Night and Sunday Morning (original title) (1960), he hired Holt as his editor. During his later years he worked increasingly in theater direction. Directed three actresses to Oscar nominations: Vanessa Redgrave (Best Actress, Morgan, A Suitable Case for Treatment (1966); Isadora (1968)), Meryl Streep (Best Actress, The French Lieutenant's Woman (1981)), and Jessica Lange (Best Actress, Sweet Dreams (1985). Who'll Stop the Rain(1978) rating: 6.5/10. The film will appeal to Nick Nolte fans.

Released in 1978 with the "bigger" Vietnam films (THE DEER HUNTER, COMING HOME), this is an under appreciated gem. Nick Nolte showed signs of becoming a solid leading man with his work here as action junkie Ray Hicks. The supporting cast in smaller, important roles bolsters a tight, moving film. Richard Mazur and Ray Sharkey are ultimate psychos and Charles Haid, as the weasel dope dealer are great. Like Karl Reiz's previous gem (THE GAMBLER), this film deserved to be bigger.

Nick Nolte is dead-solid perfect here as Vietnam-vet Marine Ray Hicks, the ultimate 70's zen anti-hero. It's shocking to see him so young and muscular after the sheer variety of roles and physical embodiments he has taken on since. Here he's tough, flawed, and jaded, a once-idealistic cynic who has gotten himself into a bad situation but whose instinct for survival takes over. One of his first lines in the film is, "Self defense is an art I cultivate.", and he doesn't let down. It's a Steve McQueen-cool kind of role, and Nolte's wonderfully cinematic throughout; whether it's smoking a cigarette, drinking a beer, cleaning a weapon, kicking bad-guy butt with some quick martial arts moves, or putting a supportive arm around Tuesday Weld.

The story comes from Robert Stone's National Book Award winning "Dog Soldiers" which is a better if less marketable title. The title refers to those mercenary soldiers who would hire on and die for someone else's cause as surely as if it was their own. Much of the dialogue comes verbatim from Stone's book, and it's rare that the translation is so perfectly realized as it is by director Karel Reisz and his actors. The characters seem to be saying these words for the first time in the situation they're in, and what's more, much of the dialogue is endlessly quotable. Nolte in particular builds a tough-guy philosophy throughout snarling lines like, "I'm tired of taking s**t from inferior people."

He's perfectly paired on the road from Oakland to New Mexico with Weld, in one of her best performances as Michael Moriarty's pill-popping wife. Also well-cast are Anthony Zerbe, Richard Masur, and Ray Sharkey, who add plenty of menace and dark humor as a trio of shady feds after the heroin Nolte has ill-advisedly brought back from Vietnam for one-time pal Moriarty. Also standing out is Charles Haid as a small-time Hollywood hustler Nolte tries to have move the heroin. Look fast for Wings Hauser in the opening scenes as a Marine jeep driver. The film's tone may be too violent and downbeat for some tastes, but it captures the feeling of cynicism and disillusion stateside during the Vietnam War in an appropriately harrowing manner.

The climactic shootout is ingeniously staged at night on a mountain commune with strobes flashing and Hank Snow/CCR music blaring. The final shots of the film are striking and memorable, particularly the stark image of a battered and worn but still not beaten Nolte marching along an endless set of railroad tracks in the New Mexico desert. It's only a shame Nolte didn't attempt a few more roles in this action vein while he was still young.

The film is available on DVD, though there are no extras. It would have been nice to have interviews, commentary, and deleted scenes (particularly the pivotal Nolte/Weld love scene, which was reportedly filmed but wound up being only implied in the final cut).

This is a small masterpiece and perhaps the best film to come out of the whole Vietnam War experience, perfectly reflecting the drug-addled, hyper-cynical and soulless days at the end of the 60's, when we all realized that it wasn't going to be alright.

If you like Nolte, you must see this. If you loath Nolte to the very depth of your being, you need to see it even more. His energy here would fill a dozen lesser films - only the remarkable supporting cast keeps him from single-handedly burning the movie down.

A huge number of American films from this period are massively overrated. Not this one.