Fomos Heróis

This film is so different from the traditionally cynical (and rightly so) Vietnam War movies. While it goes without question that this film depicts the bloody and gruesome horrors of the tragedy of the first major conflict of the war, it does so while juxtaposing the story with that of stories of the home front and the enemy. The enemy in this film is not the animalistic, silent enemy we are used to. We hear this enemy speak, we see his love for his family and his devotion to his cause. While being bombarded with images of death and destruction on the battlefield, we are brought back home to see the wives as they face the death themselves.

While of course not a flawless movie, it was without a doubt moving, and I highly recommend it.

I for one am someone who was inspired to read the book "We were Soldiers Once and Young" after seeing this movie. WWS is about a distinct event that actually happened. SGM Plumley was a soldier's soldier, with five combat jumps in three wars and an astounding three combat infantry badges. LTC Moore was the sort of leader who could keep his head and lead his troops through the worst of battle. People who complain of clichés in this movie might as well complain that people in 18th century movies wear three-cornered hats.

To those looking for an anti-war message, it is there. When Moore goes to Division headquarters and gets his mission, he asks about projected enemy in his area of operations. The staff officer standing next to the general says "a manageable number." To this Moore responds with words to the effect of "which means you have no idea." It turns out that Moore's battalion gets dropped on top of a vastly larger enemy force (if I remember correctly, they get dropped right next to an NVA brigade). Ordinarily, it order to assure success in attack, you want to have three times the numbers of your enemy. In this case, the ratio was 4:1 going the other way. Then the battle is about how artillery and air support makes up the difference in numbers.

The obvious criticism here is that the command was fumbling around in the dark. At the end of the movie, the names of the 70+ men who died are prominently displayed on the screen. A military mind is not treasonous and will not disrespect its superiors, but it will let facts speak for themselves.

The next comment is only tangentially related to this movie. However, many voices here have taken the opportunity to vent their views on Vietnam, so I feel compelled to put things in a broader historical context.

There was a war that did not take place between 1945 and the fall of the Berlin wall. It would have been called WWIII. The Soviet Union and the US stood eye-to-eye for 40+ years, but did not blink. It was an ideological conflict with an evil that meant death to 50+ million people in communist countries in this century. It was conflict with a system that vastly constrained freedom. Fortunately for the world, the US finally prevailed. The struggle fought between communism and the west was fought in a variety of ways: in public relations, in sports, in propaganda, and in a series of proxy wars. In Korea, Greece, Vietnam, Afghanistan and a variety of smaller stages, East contested with West. To the people caught up in these local conflicts, these wars were absolute tragedies. However, in the grand scheme of things, these conflicts pale to insignificance when compared to the 500,000,000 who would have died in WWIII.

I live with a Vietnam Vet who served in the late 1960s with 1st Cav. Medivac. During service he earned two Purple Hearts, the Distinguished Flying Cross, and the Air Medal. Since WE WERE SOLDIERS concerns the 1st Cav., Randy wanted to see it. I reluctantly agreed; I am not partial to war films and I dislike Mel Gibson, and Randy is very hard on Vietnam War films. He dismisses PLATOON as a Hollywood 8x10 glossy; says APOCALYPSE NOW is an interesting movie that captures the paranoia, but all the technical details are wrong; and describes DEER HUNTER as excellent in its depiction of the strangeness of coming home but so full of plot holes that he can hardly endure it. And about one and all he says: "It wasn't like that."

He was silent through the film, and when we left the theatre I asked what he thought. He said, "They finally got it. That's what it was like. All the details are right. The actors were just like the men I knew. They looked like that and they talked like that. And the army wives too, they really were like that, at least every one I ever knew." The he was silent for a long time. At last he said, "You remember the scene where the guy tries to pick up a burn victim by the legs and all the skin slides off? Something like that happened to me once. It was at a helicopter crash. I went to pick him up and all the skin just slid right off. It looked just like that, too. I've never told any one about it." In most respects WE WERE SOLDIERS is a war movie plain and simple. There are several moments when the film relates the war to the politics and social movements that swirled about it, and the near destruction of the 1st. Cav.'s 7th Battalion at Ia Drang clearly arises from the top brass' foolish decision to send the 7th into an obvious ambush--but the film is not so much interested in what was going on at home or at the army's top as it is in what was actually occurring on the ground. And in this it is extremely meticulous, detailed, and often horrifically successful. Neither Randy nor I--nor any one in the theatre I could see--was bored by or dismissive of the film. It grabs you and it grabs you hard, and I can easily say that it is one of the finest war movies I have ever seen, far superior to the likes of SAVING PRIVATE RYAN, which seems quite tame in comparison.

Perhaps the single most impressive thing about the film is that it never casts its characters in a heroic light; they are simply soldiers who have been sent to do a job, and they do it knowing the risks, and they do it well in spite of the odds. Mel Gibson, although I generally despise him as both an actor and a human being, is very, very good as commanding officer Hal Moore, and he is equaled by Sam Elliot, Greg Kinnear, Chris Klein, and every other actor on the battlefield. The supporting female cast, seen early in the film and in shorter scenes showing the home front as the battle rages, is also particularly fine, with Julie Moore able to convey in glance what most actresses could not communicate in five pages of dialogue. The script, direction, cinematography, and special effects are sharp, fast, and possess a "you are there" quality that is very powerful.

I myself had a criticism; there were points in the film when I found the use of a very modernistic, new-agey piece of music to be intrusive and out of place. And we both felt that a scene near the end of the movie, when a Vietnamese commander comments on the battle, to be improbable and faintly absurd. But these are nit-picky quibbles. WE WERE SOLDIERS is a damn fine movie. I'll give Randy, who served two tours of duty in Vietnam, the last word: "It may not be 'the' Vietnam movie. I don't think there could ever be 'the' Vietnam movie. But they pretty much get everything right. That's how it looked and sounded, and that's what I saw, and this is the best movie about Vietnam I've ever seen." Gary F. Taylor, aka GFT, Amazon Reviewer

We Were Soldiers is not for the squeamish. It ranks up there with Saving Private Ryan for realistically showing the brutality of war. I was moved almost beyond description by the ordeal these 390-odd US Army Air Cav soldiers endured at the hands of thousands of Viet Cong troops. It is as close to Hell as one could get on earth--a charnel house of horrors, where death is sudden and swift. Mel Gibson and Sam Elliot lead a group of green recruits into the Valley Of Death on an impossible mission in the early days of our involvement in Vietnam.

Based on actual events in 1965, this was the first major involvement of US troops and North Vietnamese regulars. The writing, directing, and acting are first rate, and the battle scenes are too real for comfort. What really makes the mind reel is that after the slaughter depicted in this film, Mel's character Lt. Col. Hal Moore goes back to the valley of death for more than 200 days. The American dead are listed on 3 East of the Vietnam Memorial Wall. I stood at attention and cried when the names of the fallen were listed at the end of the film. You will, too.

It is hard to stand out and be a unique war film. They've been making war films pretty much since the invention of film it seems. So you would think by now that it's all been done before, and for the most part it has. Yet We Were Soldiers manages to separate itself from the pack and give us a unique take on one particular battle in one particular war. Depicted here is the first major battle involving American troops in the Vietnam War. The fact that this battle takes place in what is known as the Valley of Death tells you all you need to know about what awaits the men who head into combat.

The central figure in the movie is Lt. Col Hal Moore, played by Mel Gibson. Moore, leading the 7th Cavalry, will train his men and lead them into whatever hell awaits them. The film begins back home as Moore assembles his new unit and begins to whip them into shape. Here we learn much about what makes Hal Moore tick and begin to see him for the true leader of men he is. These opening scenes are important as they show many of Moore's motivations and also the obstacles which are placed in his way. The time back home also allows us to see Moore the family man with his strong, stoic wife, played by Madeline Stowe, and their young children. We also meet other key characters. There is Moore's second-in-command, battle-tested Sgt. Maj. Plumley, played with wonderful gruffness and all the appropriate seriousness by Sam Elliott. There is helicopter pilot Bruce Crandall, played by Greg Kinnear, and young Lt. Jack Geoghegan, played, surprisingly well for someone who came to prominence in a silly farce like American Pie, by Chris Klein. But the key figure throughout is undeniably Moore and Gibson's strong, confident portrayal is a key to the movie's success.

While important in establishing the key characters and the emotional ties that bind them to each other and those whom they are leaving behind, the opening scenes back home have a feeling of just biding time about them. The film really takes off when the 7th Cavalry is dropped into the Valley of Death and confronts the overwhelming enemy force which awaits them. The rest of the film deals with this one epic, unrelenting battle. It sounds clichéd but the battle scenes are so well choreographed and photographed that you do truly feel as if you are there. The intensity of the conflict jumps off the screen. The focus is on the valor and heroism of the American soldiers but unlike so many war films which present a nameless, faceless enemy we also get to see things from the Vietnamese perspective. We see the enemy leaders detailing their strategy and also are presented with reminders that the Americans are not the only ones with loving, concerned families back home. We see the toll on both sides, not just for the soldiers but perhaps most poignantly in scenes inter-cut from home where soldiers' wives wait to learn the fates of the men they love.

We Were Soldiers is a brutally honest, unflinching look at the hell that is war. It is a story which begged to be told. Seeing as it is adapted from a book by two of the central figures in the conflict, Hal Moore and reporter Joe Galloway who found himself thrust into the middle of the conflict (and who is played wonderfully by Barry Pepper in the film) you can rest assured that unlike so many other war films this one would focus on "getting it right." The film tells it as it truly was. It is at times invigorating and inspiring and at other times truly heartbreaking. All in all it is a fitting tribute to, as the film states at the beginning, the men on both sides who died in that place.