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There is certainly no shortage of films based on the Vietnam War, but in recent years the infamous conflict has received less attention in Hollywood circles. In the late 1990s there was a surge in World War 2 films, followed by those looking at the first Gulf War and now the current Iraq conflict. Ignoring the trend, endearingly eccentric director Werner Herzog, whose last picture was the acclaimed documentary Grizzly Man, has brought us a good old-fashioned war/adventure movie set in southeast Asia (more specifically, the jungles of Laos, near the Vietnam border). There are no obvious political messages in operation; rather, Herzog has chosen to make a Bridge on the River Kwai-esque tale of endurance and survival focusing on prisoners of war. The approach is refreshing, resulting in a film that prioritises the central character's gruelling but inspiring personal journey over protracted attempts at topicality.
Herzog couldn't have chosen a more reliable leading man than Christian Bale. Just like a young Marlon Brando or Robert De Niro (although he doesn't yet have the filmography to match their lofty standing), Bale doesn't just play parts, he becomes his characters. Here he again goes beyond the call of duty by shedding 40 pounds to portray US Navy Lieutenant Dieter Dengler, whose fighter plane was downed over Laos and was incarcerated in a Vietcong prison camp. It's a great performance that would be startling if we hadn't already seen it before - for The Machinist he lost even more weight, virtually starving himself for what was a relatively minor film, proving his almost unrivalled dedication to acting. Here his physique shrinks over the course of the film, which enhances the realism and believability. But it is far from a one-man effort; indeed, supporting player Steve Zahn is equally impressive in a role that is a big departure for him. Zahn's Duane has been a resident of the camp for an unspecified but considerable length of time, and when we first meet him he's already little more than an empty shell of a human being who has lost all hope. The way Bale slowly instils a new sense of purpose in him and his fellow inmates is compelling and adds to the emotional impact.
What may not be expected from a Vietnam POW flick is humour, but Rescue Dawn actually supplies a few good laughs that help to alleviate the oppressiveness of the prolonged middle act. Once the inevitable escape attempt comes it is brilliantly exhilarating, but that is not the end of the show: the final section is a difficult, desperate and engrossing slog through the jungle, which takes some shocking turns. Any film that focuses on such a horrendous situation is bound to be gruelling, but importantly, the characters and acting encourage the emotional investment that is required to prevent it from feeling too over-extended. Herzog's restrained, relatively traditional filming style (he generally chooses not to wave the camera about frantically) also benefits the film. Among the numerous classics that have been set in the Vietnam War, Rescue Dawn is a minor entry in the canon, but still a highly worthwhile one.
The summary
With experienced direction from Herzog, a typically committed central performance from Bale and a surprisingly excellent turn from Zahn, Resuce Dawn exudes quality.
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