The Vietnam War wreaked havoc on the United States — its sense of self-worth; its trust in leadership, both civilian and military; and its ideas of what constitute heroism. Vietnam was the first war we fought where the awful violence wasn’t hidden from us. It was also our first tick in the loss column. There are a whole host of complex emotions that war put us through. It’s no surprise, then, that war films made after the Vietnam War ended are quite different than those that came before. There were still a few holdouts, however — anachronisms from the earlier style. Continue reading “Stallone Month: Victory, aka Escape to Victory”
What a weird fucking movie. I’m glad I watched it.
The Keep, from 1983, was Michael Mann’s second directorial effort, coming two years after Thief. The film tells the story of a unit of German soldiers who occupy a remote castle keep in Romania during World War II. But, this is no normal keep. The walls are inset throughout with over two hundred crosses made of nickel. The battlements appear designed not to keep an invading army outside of the walls, but rather to keep something in. There’s even a creepy caretaker on site to make sure that anyone who crosses the threshold knows the story of all those before who tried to spend a single night in THE KEEP. Spooky. Continue reading “October Horrorshow: The Keep”
Steven Spielberg once proclaimed 1968’s Where Eagles Dare his favorite war movie, partly because of its inherent unreality. One of the great movies of the, well, unrealistic era of war films, the great lesson of Where Eagles Dare is that when wielded by an American or a Brit, an MP-40 is the ultimate weapon of death. Continue reading “The Empty Balcony: Where Eagles Dare”
Cross of Iron, Sam Peckinpah’s entry into the World War II genre from 1977, is a study in two-dimensional characterizations. Well-written, well-acted, and well-directed, this perfect storm of effort on the part of all involved results in a bloody violent film whose characters barrel their way through without nuance, relying on the audience to fill in the blanks. How successful the film is, therefore, depends on a viewer’s understanding of war, or what they think they understand. Continue reading “The Empty Balcony: Cross of Iron”