The movie is set in 1965 at the site of the first major engagement between American and North Vietnamese troops. Before taking us to Vietnam, however, director Randell Wallace allows us inside the lives of the American soldiers at home. This becomes crucial to the movie's later success, as it humanizes the men, presenting them as more than the faceless fodder for enemy bullets. If only briefly, we see their wives and children. Then they ship off, and in seemingly no time, are trapped and outnumbered, fighting for their lives.
Commanding officer Lt. Col. Hal Moore (Mel Gibson) is the leader of the 7th Cavalry's 1st Battalion. He is a student of history and a master of tactics. Before departing for Vietnam, he has spent sleepless nights peering over books detailing previous military engagements; determined not to repeat the mistakes of those who preceded him. In the midst of battle, Moore is at his best, inspiring confidence in his men by never expecting more of them than he is willing to give himself. He seems to be everywhere, bolstering spirits and improvising defenses for each new attack by the enemy The men under his command include daredevil Helicopter pilot "Snakeshit" Crandall (Greg Kinnear); the gentle and well-liked Lt. Jack Geoghegan (Chris Klein), whose wife has just given birth; and the crusty Sgt-Maj. Basil Plumley (Sam Elliot), Moore's right hand man. Another key participant is the photojournalist Joe Galloway (Barry Pepper), who is temporarily forced to trade his Nikon for a rifle.
For the most part the film's action is in Vietnam, but, during the course of the three-day battle, it breaks away for interludes at the stateside base where the wives are waiting and worrying. During these sequences, which serve dual purpose of introducing tension and building character, we spend time with two women in particular - Moore's wife, Julie (Madeleine Stowe), and Geoghegan's wife, Barbara (Keri Russel). These two take it upon themselves to deliver the dreaded yellow telegrams to the newly-widowed wives on the base. One of the most memorable scenes occurs not on the battlefield, but when one of the first telegrams arrives and Julie thinks it's for her. Stowe shines in this scene as the emotions - dread, panic, horror, grief, shock, and relief - flicker across her face.
We Were Soldiers refuses to demonize the North Vietnamese. We are given an insight into the activies within the military sanctum of the enemy, where the commanding officer is plotting every move against the Americans. One Vietnamese solider carries a picture of his girlfriend in a diary he places close to his heart. There is never any question that these men are the enemy, but we understand that "enemy" does not equate to "evil". Everyone who lives and dies, regardless of which side they're on, is a human being.
The screenplay is drawn from the novel "We Were Soliders Once, and Young", an account of the battle written by Moore and Galloway. The movie is more faithful to the historical account than most films, and the sense of verisimilitude is unmistakable. The performances are solid without exception. We care about these people - in part because the screenplay gives us cause and in part because the actors make them real to us.
Once, war movies were very much arm's length affairs, but, in an era when so many lines have been crossed and so many barriers broken, such an approach no longer works. As a results, the in-your-face style of We Were Soliders results in a suspenseful, intense, and exhausting cinematic experience. There are times when the film is grueling and times when it's exhilaring. The movie has the ability to keep audience on the edge of their seat and to wring tears from their eyes. It's an amazing experience, courageous of spirit and brave of heart.
Porculus
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