100 Movies … 100 Posts: #86. Platoon (1986)
This is post #15 in my series, 100 Movies … 100 Posts. In this ongoing series, I’m watching and writing about each film on the American Film Institute’s list of 100 greatest movies from #100 to #1. I’m not just writing a review of each movie. I am going to write a piece about whatever I find most pressing, as a critique of the film, an address of the issues it brings up, or my own experiences with the film. It will serve as an examination of the list itself and of political issues in Hollywood and the film industry.
Without further ado, #86 “Platoon”
——————————————-
If there were ever a single movie that would make a good case for taking a completely anti-war stance, it would be Oliver Stone’s “Platoon.” Hollywood has had a history of pumping out patriotic pro-war propaganda. This one should dispel any notion that war is a glorious endeavor.
In his opening voiceover monologue, Tiger Blood himself, Charlie Sheen, playing a young soldier in Vietnam named Chris Taylor pronounces that “Hell is the impossibility of reason. That’s what this place feels like, hell.” Meanwhile, we watch him, sweat dripping from every pore on his body, digging a trench in the oppressive heat of tropical Asia. Then later, he gets attacked by ants. His fellow platoon mate tells him that red ants are the worst. He’s lucky that these are only the black ones.
Sharing his troop are Willem Dafoe and Tom Berenger, or Sgt. Elias and Sgt. Barnes, or God and the Devil. The war these two wage is not just for the sake of a mission or staying alive, but it’s a man who’s fighting to keep his own soul intact, as well as those of the soldiers he commands (Elias) and another who’s already given up on caring about his fellow humans (Barnes). Taylor sees the good in Elias, who seems to have retained his sense of morality despite having been stuck here for years. Barnes also has his allies, specifically, his parrot, Sgt. O’Neill played by John C. McGinley, whom “Scrubs” fans will know as Dr. Cox. It’s pretty funny how he’s basically still playing Dr. Cox here, and in fact, it wouldn’t be surprising to find out that this was the doctor in another lifetime. Working in a hospital and in a war zone aren’t all that different.
It’s also funny how Dafoe bears the closest resemblance among the cast to a Christlike character, considering he would play Jesus a couple years later. O’Neill even says “Guy’s in 3 years, and he thinks he’s Jesus fucking Christ or something.”
The audience follows the platoon through several incidents where the soldiers have to fight to stay alive and keep their sanity. Of course, it’s war and not all of them make it. It’s such hell that some of them even wish for death at times, as it would at least mean an end to the paranoia and terror they face every day and night. Or at least, if they get shot and survive, they get to go home. Anything is preferable to being stuck out there in the jungle. Sheen gets nicked by a bullet early in the movie, which means he gets to go back to base camp for a few days to recover. Fellow soldier played by Forest Whitaker is happy for him.
The film comes to a head as the full horrors of war are revealed when the group comes upon a village. In the previous scene, the soldiers had indulged in a bit of the wacky weed and they were very happy (way before Sheen started bangin’ seven-gram rocks). They were all about peace and singing songs and enjoying life. But now, in a village full of Vietnamese who don’t speak or understand English, fear and survival instinct kick in. Searching the village for enemy soldiers, Taylor finds a one-legged mentally disabled man and his mother hiding in a barn. In a sickening display of power, Taylor fires at the man’s feet, forcing him to do a dance to avoid being shot. Then fellow soldier Bunny, played by Kevin Dillon, bashes the man’s head open with the butt of his rifle, as his mother cries out. Bunny then shoots her, and coldly says that they should just kill all of them.
After a few more atrocities, the commanding officer tells the soldiers to burn down the village and send the people away. Stone highlights the hypocrisy of the American soldiers showing one guy with “GRACE” written on his helmet as he sets fire to one of the huts.
After the village has been set ablaze, Taylor stumbles onto members of his troop attempting to rape a girl, and he tells them to back off, leading the girl away to relative safety as the other soldiers call him a homosexual for breaking it up. Quite a bit of controversy surrounds this scene. The rape is very much muted, as the girl isn’t even shown onscreen, except for the top of her head. It plays out so quickly, as the viewer is still reeling from the horrifying events that took place in the village, that it would be easy to miss what’s transpiring in this scene. I had to watch it a second time and consult Google to affirm that I was seeing what I thought I was seeing.
Stone probably did this for a number of reasons. The most likely being he was probably trying to avoid an “X” rating with the movie being so violent. It might have been for artistic reasons, as he might have though it would be too vile for audiences to handle at this point in the film, considering the disturbing scenes in the village. It’s hard to say whether this was handled properly. Showing the rape in detail would have been sure to get across the specter that it was a common occurrence for American soldiers in Vietnam to rape village girls. But, on the other hand, that sort of act is an awful thing to show on film, and it’s not something that anyone needs to see. At least that was addressed in the film, but it might have been better if it wasn’t so rushed.
It also feels wrong because, as Stone himself is a Vietnam veteran, it’s likely that Taylor was representative of himself and his own experiences. Taylor shows in the barn scene that he’s losing his sense of morality, as he’s cracking under paranoia and fear of the situation he’s in. He’s starting to revert to his survival instinct, and it’s not entirely misplaced, but he’s now taking it out on the people he perceives to be his enemies, even though they’ve done nothing to harm him personally. Breaking up the rape is Stone’s way of showing his moral compass is still somewhat intact, at least relative to the other soldiers in the troop. Still, it’s difficult to accept Taylor’s relative morality. He hates the “gooks” as much as everyone else in the platoon, but the audience is still supposed to see him as a good guy? Or maybe they’re just meant to sympathize with him as a human who’s been thrust into nightmarish situations. Either way, it makes war a seem entirely undesirable.
Barnes, on the other hand, has completely given up on relative morality. He’s doing what he has to do to survive and to keep the platoon together. He doesn’t care who he has to kill. He’s fine threatening to kill a villager’s young daughter to get him to talk. He’s OK with killing fellow soldiers because he perceives that they’re weak. He’ll give his commanding officer hell because he doesn’t seem to have his head in the game when the group needs his attention the most. Berenger is tremendous at creating this character who is completely contemptible, but admirable for his strength and sense of duty. Despite his terrible flaws, he’s the most respectable of the group. Most of the guys are beset with this wishy-washy sense of relative morality, when they have no qualms with taking out as many Vietnamese people as they can, be they fighters or innocent villagers. As much as you hate Barnes, you have to respect him, because at least he’s consistent and honest with himself and his soldiers. As much as Elias is admirable for trying to maintain dignity in the way the group handles things, you almost wish he would stop pretending and just be honest. These men are trained to be killing machines, but they’re really just a bunch of scared guys staring death in the face every minute of every day. They’re just trying to hold out long enough to get injured so they can go home. How fucked up is that?
Berenger would continue to haunt Sheen as he followed him into another film, “Major League,” where they were both members of the Cleveland Indians baseball team. That would have been even more hellish than Vietnam.
Through a series of conversations between white and black soldiers interspersed throughout the movie, Stone is deftly able to convey matters of race and class and how people end up in the military. In once instance, Taylor admits to Keith David’s character, King, that he came from an affluent family. “Why should the poor kids go off to war and the rich kids always get away with it,” Taylor says. King rebuffs him, saying, “Shit. You gotta be rich in the first place to think like that. Everybody know the poor are always being fucked over by the rich. Always have, always will.” It’s good to see someone address the white saviorism in movies like this. Usually if there are black characters in war or action movies, it’s done out of tokenism, and the black guy usually dies first.
“Platoon” is more than a literal battle between the Taylor’s platoon and the Vietnamese. It’s about more than just the soldiers’ struggles to survive. After its success in World War II, the U.S. was ready to take on the world. We were trying to demonstrate our dominance to Russia by asserting ourselves in this small Communist country that was no threat to us. Stone shows that the soldiers are losing their way. On a different level, it was the U.S. that had lost its way morally by putting the soldiers in this position. Not only by putting its soldiers in harm’s way, but in attempting to colonize Vietnam. As Taylor felt the need to assert his power over the man in the barn, and as the soldiers did with the village, the U.S. was trying to assert its power in the world by taking over this country. The U.S. succeeded at neither and just got a lot of people killed. Many veterans of this war are still suffering from it because the U.S. tried to downplay its own follies after the war had ended, and those soldiers still aren’t receiving the care they need.
It’s a message that is still relevant today, nearly 20 years after this movie was made and 30 years after the end of the war. Since this film was released, we’ve had multiple incursions into the Middle East with varying degrees of success. At least now, we’re invading countries that have things we want, namely the oil trade. It comes at the cost of thousands of our own troops’ lives and tens of thousands of the locals’ lives. With the gap between the rich and poor at its widest since the 20s, poor kids continue to face the brunt of it with subversive recruiting tactics and a lack of options due to their families’ lowly statuses. Even Hollywood is getting in on the recruiting. Look at recent movies like “Zero Dark Thirty,” “Act of Valor,” “Captain Phillips,” and “Lone Survivor.” They all make being a Navy SEAL or a Marine look pretty awesome. It’s good to get kids interested while they’re young. And the attempts to find profitable conflicts will continue.
“Platoon” is one of the few anti-war war films that actually gets the message across that war is bad for everyone involved. That seems to be Stone’s entire goal with this film. He succeeds in making an engrossing movie, but it’s so disturbing that it would hopefully remind pro-war people that these kids we’re sending out into who knows where are suffering for it. If we can’t have sympathy for the “enemy,” then we should at least care about our own. Every war isn’t like Vietnam, but if you want a movie that might hit closer to home, watch “Jarhead,” as it has a similar message, but with a look at a more recent war.
Though Oliver Stone’s recent history hasn’t been the greatest, this movie is something everyone should watch, especially those who think war is all about glory. Though the film is strikingly compelling in its artistry, it’s hardly what anyone should call entertaining. This is true terror. It’s not just some liberal agenda set forth by someone who’s never set foot on a battlefield. This is a movie written and directed by a veteran, so it should be believable.
It would be difficult to argue that the U.S. hasn’t lost its way.
——————————————-
Next up, #85 “A Night at the Opera”