Reposting from 2008:
In honor of Memorial Day, take a break from picnics and sales and share one of these great films about American soldiers, sailors, and Marines. And be sure to take time thank the military and veterans in your life for all they have done to keep us safe and free.
1. Sergeant York Gary Cooper won an Oscar for his portrayal of WWI hero Alvin York, the pacifist from the hills of Tennessee who carried out one of the most extraordinary missions in military history using lessons from his life on a farm. He captured 132 men by himself, still a record for a single soldier. In addition to the exciting story of his heroism in war, this is also the thoughtful story of his spiritual journey. He is a pacifist, opposed to fighting of any kind. By thinking of what he is doing as saving lives, he is able to find the inspiration and resolve for this historic achievement.
2. Saving Private Ryan Director Steven Spielberg salutes his father and the greatest generation with this story set in the D-Day invasion of Normandy. It frankly portrays the brutality and carnage of war and its wrenching losses, but it also portrays the honor, sacrifice, heroism, and meaning.
3. Mister Roberts There are battles — and heroes — of all kinds. Henry Fonda plays a Naval lieutenant assigned to a cargo ship during WWII who feels very far from the action. He learns that his defense of the crew against a petty and tyrannical captain (James Cagney), on behalf of “all the guys everywhere who sail from Tedium to Apathy…and back again, with an occasional side trip to Monotony,” is an important and meaningful contribution.
4. M*A*S*H Set during the Korean War but released in and very much a commentary on the Vietnam War, this is the story of surgeons stationed at a Mobile Army Surgical Hospital. The emphasis is on war’s essential absurdity — these are doctors whose job is to heal soldiers to they can be sent back into battle — and on the ways that different people respond to those situations, responses that often escalate the absurdity. See also “Captain Newman, M.D.,” with Gregory Peck as a sympathetic Army psychiatrist during WWII as well as the long-running television series this film inspired.
5. Glory The Civil War 54th Massachusetts Volunteer Regiment, one of the first formal units of the U.S. Army to be made up entirely of African American men, inspired his film. Led by abolitionist Robert Shaw (Matthew Broderick), and based on his letters, this is a story of heart-breaking courage, as the men had to battle not only with the Confederacy but with the bigotry of most of the white officers on their own side.
6. The Longest Day An all-star cast shines in this sincere re-telling of the events of the invasion of Normandy D-Day, one of the transformational moments of WWII. Many of the military consultants and advisors who helped with the film’s production were actual participants (from both sides) in the action on D-Day, and are portrayed in the film.
7. Band of Brothers This 10-part miniseries produced by Tom Hanks and Steven Spielberg is based on the best-seller by Stephen Ambrose about the WWII experiences of E Company (“Easy Company”), the members of the 506th Parachute Infantry Regiment, United States Army 101st Airborne Division and one of its officers, Richard Winters (played by Damian Lewis), from basic training through the American airborne landings in Normandy, Operation Market Garden, the Battle of Bastogne and the end of the war.
8. Patton George C. Scott won an Oscar for his portrayal of WWII General George S. Patton. The film also won six additional Oscars, including Best Picture. Its screenplay, co-written by Francis Ford Coppola, frankly portrays Patton’s mistakes and faults as well as his leadership in turning the tide of the war. 9. The Caine Mutiny/A Few Good Men These two movies, one set in WWII and one contemporary, both center on court martial trials with similar themes — what price do we pay for the luxury of feeling safe?
10. Gardens of Stone This underrated gem from Francis Ford Coppola about the “Old Guard,” the regiment responsible for the funerals at Arlington National Cemetery has beautiful performances from James Caan, James Earl Jones, and D.B. Sweeney and subtly but powerfully explores some of the deepest and most troubling questions about the price we pay — and the price we call on others to pay — for our freedoms.
“More of this is true than you would believe,” “The Men Who Stare at Goats” cheekily informs us as it opens. And while its tone is high satire, even farce, the story it tells is not hard to believe at all. Military officials are portrayed as credulous, ineffectual, and petty. But they are also portrayed as candid, open-minded, and forthright. Much of what goes on in the military’s 20-plus-year exploration of what we used to call the “human potential movement” seems outlandish, but those were outlandish times. And one aspect rings especially true. According to this film, based on the non-fiction book by debunking Welsh journalist Jon Ronson, the real reason the US and the USSR entered into these “new age” programs was that each was convinced the other was doing it. So much for the efficacy of “remote viewing.”
That would be the power to see something mentally that could not be seen visually, either because it was too far away or on the other side of a wall. This division, led by Bill Django (Jeff Bridges), whose long, gray braid hangs down over his fatigues, experiments with all categories of extra-sensory perception including telekinesis (the ability to affect objects without touching them), clairvoyance (the ability to read minds), and precognition (the ability to predict the future).
Jeff Bridges, as a Viet Nam vet who explores the new age fads of the 1970’s, one hot tub at a time, conveys slightly seedy optimism in the early days of the program and shows us the consequences of too much mind-bending at the end. Kevin Spacey is the ambitious psychiatrist who guides the program as it mutates from exploring what our troops can do to exploring how what we have learned can take away from the humanity of the enemy troops we capture. George Clooney centers the film as the most gifted of the program’s subjects, a man who seeks some way to integrate his abilities and experiences to find some meaning in the effort. But Ewan McGregor never convinces us that he is a dumped husband, a reporter, or an American. The reference to Jedi warriors just reminds us of his role as Obi-Wan Kenobi in the “Star Wars” movies and makes his appearance seem like an in-joke.
The light-heartedness of the movie’s tone goes from pratfall humor to a wrenching depiction of the consequences of foolishness. It is smart enough not to be entirely dismissive of the idea that some or all people may have some uncharted capabilities we should try to understand and focus. But it is clear that none of that will do much good against a gun and that the efforts to pursue it may lead to extensive personal and organizational trauma. The main character is unhappy that his scoop is almost entirely ignored when it is published. The media picks up only on the side detail that Barney music was used to break the spirits of prisoners. The pernicious influence of that song appears to have been the only usable information produced by the program; something that any parent of a toddler could have conveyed with great enthusiasm. If this movie directs more attention to Ronson’s findings, that will be gratifying to him, but to us it should also be an important lesson about how one factor in allowing large organizations get out of control is that no one is paying attention.
There is no question that writer-director Quentin Tarantino is a brilliant film-maker. But there is some question about whether he has yet made a brilliant film. No one takes a more visceral pleasure in movies than he does but there is always a chilly irony and a look-at-me distance. Movies are more Tarantino’s mirror than his window.
This film takes its title from a little-seen Italian movie made in 1978, but starting with the intentional misspelling, it has little in common with the original except for a WWII setting and a Tarantino’s characteristic pulpish sensibility. It shares even less in common with history. About the only thing it gets accurately is that the Nazis spoke German and the Americans spoke English.
Tarantino calls the movie a revenge fantasy. Brad Pitt plays Lieutenant Aldo Raine, who assembles a squadron of Jewish soldiers with one goal, to kill as many Nazis as possible, in as horrifying a manner as possible. “We will be cruel to the Germans and through our cruelty they will know who we are,” he tells them. One of his men is a former German soldier they rescued from prison after he killed his superior officers. Another is nicknamed “The Jew Bear” (played by horror director Eli Roth), and he kills Nazis with a baseball bat.
Tarantino’s opening scene is brilliantly staged, as a German officer (Austrian actor Christoph Waltz) visits a French dairy farmer in search of Jews who may have escaped his predecessor. Waltz, winner of the Cannes prize for acting, instantly joins Hannibal Lecter, Darth Vader, and the Wicked Witch of the West as one of the all-time great movie villains with a mesmerizing performance that shows off his fluency in English, German, French, Italian…and evil. Like Lecter, his venom is even more disturbing because of his urbanity and courtliness. Other scenes are also masterfully shot, especially an extended scene in a bar, when a critical meeting of Allied forces working undercover find themselves among a drunken party of German soldiers celebrating a new baby. Others, like the viscious killing of a group of what Raine calls Nah-sies, suffer from Tarantino’s tendency to go for showmanship over substance.
And that is the problem at the core of the film. If the misspelling of the words in the title was a signal of some kind, like the backwards letter intended as a warning and a small sign of protest in the sign over the gate at Auschwitz, then we could look for meaning in the reworking of historical events and the actions taken by real people. But Tarantino does not care about that. He is still about sensation, not sense. He appropriates the signifiers of WWII because they are easy, and because they are both scary and safe. His Nah-sies are like dinosaurs, unquestionably dangerous and unquestionably vanquished. Tarantino is a film savant. He knows and understands and loves the language of film. He just doesn’t have much to say.
There is a perverse irony in commemoration of the dead in the Holocaust with little attention to the survivors and the resistance, especially the Jewish resistance. Its immensity can’t be underestimated and it is a story that needs to be told. We all know these iconic images of Jews in the Holocaust and those are important but we have come to accept them as the only images and that needs revision.
This is not the story of Jews trying to stay alive in concentration camps. This is the story of Jews who were lucky enough to have the chance to fight back. Tuvia Bielski does not just have a gun — he is played by James Bond himself, Daniel Craig.
When the Bielski parents are killed by the Nazis, the three brothers hide out in the woods. In addition to Tuvia there is Zus (Liev Schreiber) and the youngest, Asael (Jamie Bell of “Billy Elliot”). Over time, other escapees ask for their protection and they are faced with the wrenching choice between turning away those who are old or ill or putting the entire group at risk by taking on people who were not strong enough to help them or quick enough to keep out of sight. They have to make other choices, too. The Russian army will give them some minimal protection but only if they will join forces and devote their energy to fighting the Nazis, just just hiding from them. Zus joins them but Tuvia stays on to take care of the people who are not capable of fighting.
The natural world of the forest is for the escapees a sort of Arden where many things are turned upside down. Back in the village, social status depended on class, profession, education, devotion to religious study and ritual. The Bielskis had none of these. In the forest, status depends on the ability to survive in the forest, including the ability to find a balance between asking and telling everyone what to do. Tuvia falls somewhere between achieving greatness and having it thrust upon him. He never wanted to be a leader; he certainly never wanted everyone to depend on him. And most of all, he never wanted to make the tragic choices he must make, to have to find out that he is a person capable of killing and of moral compromise.
Writer/director Baz Luhrmann is known for his surprises. In Strictly Ballroom, William Shakespeare’s Romeo & Juliet , and Moulin Rouge! he created visual and musical mash-ups of classic and pop that achieved, sometimes apparently accidentally, some transcendence and that were just about always a lot of fun.
But this big epic is told absolutely straight and is all the duller for it. The moment we see the tight little walk of Lady Sarah Ashley (could there be a more snore-ific character name) in her immaculate little suit with the veiled hat, we know it is her destiny to meet a dusty cowpoke and Learn a Few Things, probably involving some earthy cattle, some frolicking in water with said cowpoke, some enlightening experiences involving earthy native peoples, an look of growing appreciation and approval from the earth-smeared cowpoke as he discovers that she has some spunk, a test of her mettle, and a new appreciation for, well, earthiness.
It all unfolds like a script that could have starred John Wayne and Maureen O’Hara and probably did at some point. Three Aussies (one playing a Brit) have made a movie that gives us no special feel for the country’s landscapes, culture, and history. The one attempt to engage us with something meaningful, the authorized abduction of mixed-race children for government-run camps, has little of the power of the fact-based “Rabbit-Proof Fence.” Re-cuts are evident in a last half-hour that seems to end three or four times with two too many reversals. The setting, timing, and accents may be new but there isn’t one line, one plot development, one bad guy, or one adorable urchin that we have not seen before, anything that feels new, or real, or arresting. It’s always nice to see pretty people in grand vistas doing great things and falling in love as the music swells, but in telling the story that should have been most his own, Luhrmann has ceded his vision to someone else.
9. The Caine Mutiny
These two movies, one set in WWII and one contemporary, both center on court martial trials with similar themes — what price do we pay for the luxury of feeling safe?
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he created visual and musical mash-ups of classic and pop that achieved, sometimes apparently accidentally, some transcendence and that were just about always a lot of fun.