O Exército Inútil

I first saw this film when I was 15, and was pretty wowed by it, especially it's high level use of the F word. Just recently watching it again, there wasn't that much bad language. Later discovering this was a Robert Altman film, this didn't surprise me, as he did another set piece one, continual scene film, 'Come Back To The Five And Dime, Jimmy Dean, Jimmy Dean' at the same time. There is actually a preview of the latter on this film, if you have a VHS copy, which I luckily do. Streamers works mainly cause of the powerful performances, notably Michael Wright, what you may call a deserter, off his nut, who crashes a dorm of Vets, still waiting on their orders to fight that notorious and unforgotten war. He's so powerfully unsettling, because you don't what he'' do next. It's like watching a bi polar patient. The other notable performance is that of Guy Boyd, a great underused actor, as a gung ho sergeant, who sadly, you don't see much of him in this, either. Modine is very strong too as Wright's rival, while Mitchell Lichstein is unforgettably great as the gay homo cadet, who brings so much to the role, an array of emotions. What happened to him? Streamers is basically a character driven, one scene movie, where the tenseness and anxiousness shows in these pre Vet soldiers, one young kid, slashing his wrists at the start, to get a pardon, with one of the creepiest faces I've ever seen. If part of this character, I give the actor full credit. David Allen Grier, a good underrated actor plays another black GI, and Wright's friend. The atmosphere of these actors, doing their thing in a confined set is electric, even the smaller performances as we near it's end, after a double tragedy were great. The films not for everyone, as there are some confronting issues, in what in a pull no punches tale of innocence lost, and tempers flaring of a bunch of apprehensive soldiers, waiting to partake in that ugly war. The highpoint is watching a drunk Guy Boyd (and he's like this for all his scenes) singing instead of Beautiful Dreamer, Beautiful Streamers. George Dzunda, delivers too, especially near the end as Boyd's compadre. The marching gun display in perfect cadence at the start and end credits in frighteningly unsurpassable. Engaging viewing, where if not for the actors, this dorm would coming down.

I was excited to see that this film was released on DVD, only to be disappointed when I discovered that it's not available anywhere in the U.S.

My comment on "Streamers" will have to be based on one viewing a few years ago as part of a Robert Altman seminar I took in college. It's a screen adaptation of a David Rabe play, and I look at it as a male counterpart to his virtually all-female stage to screen film from the year before, "Come Back to the 5 and Dime, Jimmy Dean, Jimmy Dean."

In "Streamers," a group of Army recruits sit out a long dark weekend in their barracks, awaiting orders to ship off to Vietnam. It's dark, morbid and tense and covers such hot-button issues as racism and homophobia. I recall it all being a bit heavy-handed and one-note; I was mostly exhausted after it was over, and didn't think it was as skillfully directed as "Come Back to the 5 and Dime," which also suffered from hyperbolic material but which Altman worked wonders with.

"Streamers" does boast some pretty solid performances from a young Matthew Modine (who Altman would use again in "Short Cuts") and David Allan Grier, a far cry from the comic work he would do years later in shows like "In Living Color." If I ever have a chance to see it again, I might revise my opinion. But for now,

Grade: B-

I agree with some other reviewers that the huge flaw in this movie is the script. Maybe in live theatre this dialog is compelling, but on screen it is just bombastic. The highly formal and eloquent prose is beautiful writing, but it keeps the characters from coming alive. Nobody anywhere talks like these characters.

This could have been a powerful movie about important issues that I happen to care about a lot; it comes across instead as an acting exercise, in which very talented actors carefully read expertly crafted lines. The direction is great, as it is in every Altman movie, but I wish he had not stayed so close to the play. He usually trusted his actors more than the scripts, and not doing so in this movie was a mistake.

There is no other film that deals so confrontingly with homophobia - and with honesty.

It's a deliberately pressured and closed set, but careful editing softens the effect of the confined space. As in Hitchcock's "Rope", the camera never leaves the room, so the viewer feels caged, while the characters can come and go.

The setting is an army barracks in which the men will at any moment be sent overseas for active war duty. The characters have no choice but to negotiate how much they want to know or to accept about eachother.

Long before "don't ask - don't tell" became official US Forces policy, society in general had enforced rigid control over how open any homosexual could be - and Service Personnel have always held the worst reputation for homophobia.

So when Richie flaunts his complete disregard for machismo and swishes around the barracks, he's making one hell of bold statement. He teases Billy mercilessly with come ons, and Billy does his best to call Richie's bluff.

"Streamers" is about the truly dramatic consequences of censored communication. It's a gripping, demanding, powerful and very satisfying film that leaves your head spinning and your heart racing.

You practically need a de-briefing session afterwards, but "Streamers" is certainly one of the most memorable of dramatic movie experiences - on par with "A Clockwork Orange".

The performance by the entire cast is impeccable.

As has been already said in so many words, this movie is a bit "stagey," with Altman sticking so close to the play instead of taking advantage of the movie aspect. Perhaps as a result, this might have been great to watch on stage, but it took forever to watch on TV. And it is very dated, with lots of racial and sexual orientation slurs. The acting was very good but again hampered by strictly following a script for a play. The setting in the barracks becomes tedious before the halfway mark, and the relatively few actors or especially extras in the background make it look too minimal. Historically, this is probably worth watching, but it is a bit tough to get through.