Hacksaw Ridge (2016)

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Hacksaw Ridge spins a crowd-pleasing yarn about a simple man who possessed extraordinary mettle and bravery. Desmond Doss, a ‘conscientious cooperator’ from Lynchburg, Virginia, saved approximately 75 wounded men during the Battle of Okinawa.

It was a dreadful battle – the bloodiest of the Pacific Theatre. Some 12,520 US troops died while an estimated 110,000 Japanese perished. Mel Gibson, whose last film Apocalypto displayed his talent for breakneck action sequences, channels that same ferocity into Hacksaw Ridge’s superlative depiction of the landmark battle.

The combat scenes are loud, frenetic and protractedly visceral. Gore explodes from the screen while the excellent sound engineering surrounds you with whizzing bullets and thunderous explosions.

To continue reading, please follow the link: https://www.warhistoryonline.com/reviews/mel-gibsons-epic-hacksaw-ridge-reviewed.html

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The Coming War on China (2016)

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John Pilger’s The Coming War on China is an ominous examination of the war games between the United States and the People’s Republic of China.

Pilger is a venerable Australian journalist who has made 60 documentaries about an impressive range of sociopolitical subjects such as the Vietnam War, the Cambodian genocide, Indigenous Australians and the Palestinian-Israeli conflict. He is often critical of Western foreign policy, but The Coming War on China is a largely even-handed documentary that will enlighten and perhaps challenge your position on Sino-American relations.

It opens with footage of a devastated Hiroshima and war-torn Vietnam while the pomp and circumstance of the Star Spangled Banner plays in stark contrast. This clear contradiction is a harbinger of what’s to come; both countries are criticised, but the United States’ transgressions are given particular emphasis (well, I’d argue that Hiroshima was not a transgression).

After the brief, foreboding title sequence, we are shown a montage of news clips reporting China’s militarisation of islands in the South China Sea, which is punctuated by some Fox News foghorn saying “we, the US, have to be much more aggressive in dealing with the Chinese government!” One suspects that this pundit is ignorant of the United States’ “pivot to Asia” policy, which is drastically increasing US presence in the Asia-Pacific region.

To continue reading, please follow the link to Vulture Hound: http://vulturehound.co.uk/2016/12/compelling-enlightening-damning-stuff-the-coming-war-on-china-documentary-review/

Overlord (1975)

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A novel yet narratively constrained docudrama.

Stuart Cooper’s Overlord is a seldom-seen docudrama that deftly blends fictional narrative with archival footage from the Imperial War Museum’s vast collection. It premiered in 1975 at the Berlin Film Festival and won the Jury Grand Prix. However, it did not win an audience or even a theatrical release, sending the film into obscurity for over 30 years. It received a DVD release and limited theatrical run in 2006, and has been featured on Netflix and Amazon Prime, but Overlord remains on the fringes of cinema with just 1700 user ratings on IMDb.

Despite this, a quick read of responses from critics and viewers alike suggest that it is a compelling and affecting piece of work. It’s this small yet enthusiastic support that is seeing the Criterion Collection upgrade Overlord to Blu-ray on 6 June, which will be the 72nd anniversary of D-Day.

The film begins in May 1940 with footage of victorious German troops marching through a recently evacuated Dunkirk. We are then presented with an unfocused shot of a British soldier who charges toward us only to fall under a hail of gunfire. This blurred sequence – which was inspired by Robert Capa’s famous photograph Falling Soldier – is the premonition of Tom Beddoes (Brian Stirmer), the subject of Overlord’s fictional narrative.

To continue reading, please follow this link to VultureHoundhttp://vulturehound.co.uk/2016/06/a-novel-yet-narratively-constrained-docudrama-overlord-criterion-collection-blu-ray-review/

Hiroshima and Nagasaki: Five reasons why President Truman made the right decision

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The bombing of Hiroshima and Nagasaki was apocalyptically awful. 70 years ago today, an estimated 90,000 people were immediately killed when Little Boy detonated 1,950ft above Hiroshima – 50,000 more would die by the end of the year. Two days later, Nagasaki was struck by ‘Fat Man’, killing approximately 80,000 people. It was, as the Allies threatened during the Potsdam Conference, ‘prompt and utter destruction’.

Just four months into his presidency, President Harry Truman was tasked with making one of the most important decisions in human history. He chose to put an atomic full stop on six long years of unprecedentedly bloody conflict – here are five reasons why he made the right decision.

To continue reading, please follow this link: www.warhistoryonline.com/guest-bloggers/hiroshima-and-nagasaki-five-reasons-why-president-truman-made-the-right-decision.html

Fury (2014)

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Its climactic scene descends into Rambo territory, however outside of this David Ayer’s Fury contains some impressively loud and brutal scenes of warfare. 

I had been eagerly anticipating Fury, I had faith in it as director David Ayer proved his skill in creating searingly intense action sequences in End of Watch (2012), a film that had a palpable sense of danger. Despite Fury following a tank crew during WW2, I don’t think it matched End of Watch’s pervasive sense of looming peril, as the latter had a hyperrealism and an urban environment more familiar to me than a battleground, thank goodness.

The film opens with several lines of text explaining the situation, it’s simple but rather chilling, informing the viewers that it’s April 1945 and that the German defence is the most ‘fanatical’ the Allies have encountered in the European theatre.

Fury follows a tank crew comprising Don ‘Wardaddy’ Collier (Brad Pitt), a battle hardened veteran of North Africa and Europe; Norman Ellison (Logan Lerman) a timid rookie with only 8 weeks’ training as a typist; Boyd ‘Bible’ Swan (Shia LaBeouf), the cliched zealously religious southerner; Trini ‘Gordo’ Garcia (Michael Pena) and Grady ‘Coon-Ass’ Travis (Jon Bernthal), a genuinely hateful, obnoxious, rancid Neanderthal who regularly boiled my blood.

Fury’s chief merit is its war scenes. The film features some excellent sound engineering, which was delivered to me by Vue’s thunderingly loud sound system. Be prepared for the frenzied chatter of MG42s, the sudden, reverberating boom of artillery fire and the piercing shriek of tank shells ricocheting. The instantaneous, ceaseless death is executed well, men’s lives end forever left, right and centre in the most brutal fashion, whether it’s death by headshot, fire, explosives or tank tracks – it’s anonymous slaughter on a massive scale. Like any combat-intensive war film should do, Fury leaves you feeling battered, however its power is unfortunately hindered by its stupid concluding battle.

With publicity photos of Brad Pitt posturing meanly with his cool hair, I had worried that Fury would be a Brad Pitt vehicle, a film in which Pitt is a gunslinging B-movie war hero instead of a real soldier. I felt my fears were being confirmed when in the first minute or so Pitt jumps off a tank and launches himself at a man on horseback, knocking him down and vehemently stabbing him in the eyes; however his Rambo emulation was generally kept at bay until the film’s final battle, where his character and indeed the whole film goes awry.

War films and the moralising that comes with some can so easily become hackneyed, and there are times where the dialogue veered very closely to the trite ‘war is hell’ territory with lines such as ‘You’ll soon know… what a man can do to another man.’ delivered portentously and too early in the film by Gordo.

Characterisation also suffered from tired conventions at times; although LaBeouf went method actor for his character (he cut his face and pulled one of his teeth out), he rather wasted his commitment, as Boyd ‘Bible’ Swan is the tiringly familiar southern drawling preacher that, according to cinema, was present in every platoon. Saving Private Ryan was also guilty of this with Private Jackson (Barry Pepper), the stylishly ultra-accurate, cross-kissing sniper. Indeed, the areas that these characters hail from constitute the most religious region of the United States, their presence I suppose is entirely plausible, however I think they stink of stock character.

The worst instance of engagement breaking clichéd tosh happens at the beginning of the film’s final scene, in which the heroic Wardaddy decides to fight a much, much larger SS division that possess both vehicles and a comprehensive arsenal of weapons. Initially, the men protest it, but of course one by one they declare that ‘I’m stayin’!’ I did much head shaking during this moment. Despite these brushes with cliché however, I felt that Fury didn’t become a serious offender.

There’s a protracted scene in which Wardaddy and Norman seek refuge in the apartment of a German mother and daughter. To begin with, the scene is wrought with tension as you don’t know the battle-hardened Wardaddy’s intentions; rape of German women was commonplace, particularly by Soviet troops during and after the Battle of Berlin. However the scene eventually becomes overlong and rather misguided, the ambiguous tension being lost long before the expected payoff or denouement, a variety of which never arriving.

And now to the aforementioned final battle scene. I have read numerous arguments defending the scene’s credibility, however the reasoning is invariably flimsy – demonstrably, the scene is very flawed indeed. I have heard some remarkable stories of bravery from WW2, the most recent one being Robert Cain (Jeremy Clarkson’s father-in-law). Major Cain had been driven to a frenzy during Operation Market Garden, resigning himself to death and managing to disable or destroy six tanks using his deft skill with a 6-pounder anti-tank gun and, believe it or not, a two-inch mortar fired from his hip. Cain somehow survived the ordeal, winning a Victoria Cross for his gallantry. Despite such stories, there are just too many holes in Fury’s last standoff; it’s a lazily written stain on the film that breaks the momentum of the electrifying collection of war scenes that preceded it.

71%

Three Kings (1999)

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Three Kings is a war film that’s decent yet formulaic and easy to forget.

The film follows Archie Gates (George Clooney), Troy Barlow (Mark Wahlberg) and Chief Elgin (Ice Cube) as they look for a stash of gold after finding a secret map lodged in a prisoner of war’s anus – the premise is removed from reality to an extent where it loses credibility as both a war film and a piece of drama. The synopsis on the Blu-Ray case says that Three Kings is ‘a surreal comedy and a powerful drama of human compassion’. That is the problem with the film, it strives to be two things at once and ultimately fails in succeeding at either.

The foundations of its trite, formulaic narrative are laid in the film’s early moments. Gates stresses that once they get their gold from the bunker they’re getting straight out of there, but naturally their swift plan goes awry when the men’s conscience throw them into a union with the noble Iraqi rebels and a bloody conflict with Saddam Hussein’s army. This is second-rate Rambo territory, yet it gets over 90% on Rotten Tomatoes.

There are moments of style and surrealism, for example there are several scenes that show what happens to one’s innards when a bullet passes through them, the effects are terrifically grisly and macabre. The first gunfight is also in a strange, choppy slow motion that’s silent apart from loud, single gunshots. However, when the tension, of which there is some I admit, is broken by the sound of American and Iraqi rifles, there is a palpable sense of safety amongst the Americans; despite the overwhelming numbers of Hussein’s troops, I never felt that the Three Kings were truly in any danger. Even when Troy is captured and subjected to moments of nasty torture, I wasn’t particularly bothered because I knew he’d be rescued. It is Troy’s capture that, with a few exceptions, signals the steady decline of the film.

Jean Baudrillard said that ‘the Gulf War did not take place’, referring to how the United States-led coalition engaged in a war of safe distances with vastly superior technology. Baudrillard also believed that the media coverage was mere simulacrum, a sanitised recreation of events that ignored Iraqi suffering and championed US objectives. Seasoned journalist Adriana Cruz (Nora Dunn) is a personification of this, she’s depicted as being self-centred and interested only in her career rather than her subject. There’s a scene where she cries at the sight of oil slathered animals, however it’s quite apparent that she’s really mourning the absence of a good story.

Baudrillard’s notions are corroborated in exchanges between Troy and Iraqi Captain Said (Said Taghmaoui) that serve as the film’s main moments of war moralising. With Troy bound to a chair and wired with electric cables, Said tells him that his son died in the bombing of Baghdad, asking Troy how he’d feel if his daughter was killed in similar circumstances, a thought that he acknowledges as sheer hypothesis ‘Very nice for you bro, she’s safe in Arizona without the bombs and concrete’. The impact of this scene is intensified by cutaway clips that visualise their dialogue of war and death; despite Said’s torture of Troy, the scene highlights fundamental similarities between the two men, giving Said humanity. Indeed, the film succeeds in giving many of the Iraqi characters a sense of identity. Despite of all this, I felt the film was following the well trodden path of Hollywood war moralising in a rather hackneyed manner.

After what feels longer than 110 minutes, the film confirms just how formulaic it is when its farcical story is wrapped up so very neatly, it sucks out any modicum of credibility that may have remained. What’s left is a film that is by no means terrible but a rather mediocre affair with the odd flash of political commentary and explosive spectacle that has been done better elsewhere. I shouldn’t be too surprised by its mediocrity, after all who talks about Three Kings anymore? It certainly hasn’t entered the pantheon of great war films, it didn’t make the impact that The Hurt Locker did. Many would forget that the director of Silver Linings Playbook (okay) and American Hustle (hideously overrated) once made a war film, and I may do too.

64%

 

The Boy in the Striped Pyjamas (2008)

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It is most certainly flawed, but The Boy in the Striped Pyjamas is likely to make this harrowing chapter of history more accessible for some children.

The Boy in the Striped Pyjamas serves as an introduction for children to Nazism and the Holocaust. It covers a broad range of elements integral to Nazi Germany such as institutional racism, nationalism and indoctrination, albeit in a juvenile, contrived and ultimately implausible manner.

The film charts the relationship between Bruno (Asa Butterfield), a German 8-year-old and Shmuel (Jack Scanlon), a young Jewish boy. Bruno is the son of Ralf (David Thewlis), the SS Commandant of a nearby concentration camp in which Shmuel lives, and Elsa (Vera Farmiga), who is largely ignorant of the Jewish persecution her husband is responsible for.

The inquisitive Bruno first meets the titular boy in striped pyjamas when he stumbles across the camp perimeter next to the woods that surround his house. The innocent Bruno is puzzled by Shmuel’s predicament, he doesn’t understand why soldiers are ‘taking their clothes away for no reason’ or why another inmate Pavel works in the camp after a career as a doctor. As he repeatedly visits Shmuel and develops a friendship with him, his confusion soon turns to indignation.

Clearly, their relationship is unrealistic. The abhorrent reality is that most children were killed immediately upon arrival at the camps, and even as a child who either somehow slipped through the net or was deemed useful, it is very unlikely that Shmuel could escape his oppressors’ eyeshot so many times to speak with Bruno.

The boys’ exchanges are contrived and awkward, they are not natural conversations but a vehicle for the screenwriters to teach their young viewers the basics of the Holocaust. Considering his age, Asa Butterfield is a decent young actor – he has the potential to be a star. Scanlon, however, was quite stilted.

One of my problems with the two boys’ relationship and indeed the whole cast are the English accents, it seriously affected the credibility of the characters.  Even Vera Farmiga, an American woman, gives her German character an English accent, which she does very well, incidentally. I’m sure the film’s adult cast members were more than capable of at least hints of German or Eastern European, but attempts to do so by Butterfield or Scanlon would have probably been risible.

The most villainous and unlikable character of the film is probably Kurt Kotler (Rupert Friend), but he is also something of a caricature. With his chiselled jaw, blond hair, blue eyes and immaculate uniform, Kotler is the personification of the somewhat homoerotic Nazi dream of Aryan supremacy. The problem is that instead of him being a compelling example of a Nazi propaganda poster-boy, Friend’s character is an example of the cliched ‘Ve have vays ov making you talk’ Nazi stock-character.  And of course, Friend makes no attempt to Germanise his English accent, which meant I just couldn’t believe in him.

With implausible characters and relationships, some viewers may begin to lose hope as the The Boy in the Striped Pyjamas descends into a sophomoric history lesson. However, the climax completely batters you with its shocking, powerful twist. Despite all of the preceding problems, the fittingly horrendous denouement will leave an impression on child and parent alike. Seldom have I seen a film picked up so greatly by its final minutes.

63%