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As others have mentioned, this is perhaps the only pro-war film ever made about our involvement in Vietnam, either at the time of the war or since.
Pretty great these days, nobody espouses a pro-war stance on the Vietnam conflict. It was not a “well-behaved” war, after all, and the war will always be share and parcel with the agony of America’s social chaos in the slow 60′s and early 70′s. However, at the time, the social battle lines were well defined between the peaceniks and the hawks; those against the war, and those all in favor of it. Without the thirty-plus years of hindsight to wait on them keep this conflict in perspective, the hawks were fine gung-ho. Likewise, the the peaceniks, who opinion that if we unprejudiced “like each other” everything would be alright, looks dazzling naive and childish. If only the world were so simple.
Like the war, this film engenders strong feelings in those who gaze it. The DUKE was a known hawk, and you can explore it shine through in every line, and in every scene. Like most hawks at the time, I suspect that The DUKE simply plan Vietnam was unprejudiced like any other war (most likely, World War II), and it was incomprehensible to them that anyone would be against it. The film, in turn, reflects the hawk viewpoint.
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In other words, you could substitute the Vietnamese with the Japanese in WWII, and the film would be more or less the same (righteous, upstanding Americans vs. ample dreadful empire) . The lift of the enemy general is pure WWII melodrama. The character of Petersen, the “scrounger”, is also a stock character from a WWII movie. The staging of the action, the commando raid, blowing up a bridge, etc., all sob WWII.
DUKE co-directs, and despite being filmed in Georgia (which looks nothing like Southeast Asia!), the results are really radiant noble. The raid to prefer the enemy general is amusing, but tense and gripping nevertheless. The characterizations are solid. The film flows nicely, and isn’t too long or too short. The cinematography is workable, and at times, even impressive. There’s plenty of action, too!
When you observe DUKE react to the child running from helicopter to helicopter looking for Petersen, you cannot befriend but have respect for this film. Certainly one of the best endings in American film history follows. Politics and anti-war sentiment of today’s PC society aside, this is a stout war film that honors the best of the best; the Green Berets.
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Let me pick a moment and say a word or two about David Janssen’s role as George Beckworth, the reporter for a left-wing and anti-war newspaper. The character is a petite too distinct, and at first, a itsy-bitsy too strong on the anti-war sentiment. His conversion was a runt too predictable, but the handling of his conversion to pro-war is very well-handled. Ultimately, I deem it was a believable transformation, and this is due entirely to Janssen’s talent. In the hands of another, less skilled actor, the Beckworth character could have been a huge sore point, but Janssen makes Beckworth a calm force, a wall of anti-war sentiment needing to be erroded away by the reality of the location he finds himself in. In many ways, I contemplate Janssen’s underplayed near for Beckworth makes him seem more steady, and ultimately sells the character. It helps sell the movie too, despite our original perspective on the war.
Appearing in supporting roles are Jack Soo (Slice Yemana on “Barney Miller”), George Takei (Sulu on “Star Shuffle”), and Bruce Cabot. Cabot had starred in a gigantic many films, and “The Green Beret” is one of his last. He was a accepted DUKE co-star, appearing with DUKE in “Hellfighters”, “Gargantuan Jake”, “Chisum”, “The War Wagon”, “In Harm’s Scheme”, “McLintock!”, “Hatari!”, and others. Cabot is probably most celebrated for rescuing Fay Wray from King Kong. Also on hand is The DUKE’s son, Patrick Wayne. Patrick appears as the commander of a Seabee team, following in his father’s footsteps (DUKE starred in the noted homage to the outfit, “The Fighting Seabees”) .
DUKE fans should try to locate a copy of the video “No Substitute For Victory” (available on this area), in which DUKE hosts a right-wing documentary peer at our reasons for fighting in Southeast Asia. Watching this documentary after the film will give the viewer modern insights into the thinking of the hawks at the time, and their location during the Vietnam conflict.
If you ever read Gustav Hasford’s “The Short-Timers” (which “Pudgy Metal Jacket” was based on) you know how he felt about this movie: “Let’s view the Duke and Mr. Sulu karate-chop Victor Charlie in a Kodicolor fantasy about Vietnam.” In other words, he plan it was bunk. So does everyone else on the left, who have bought into the chronicle that Vietnam was a purely guerilla war and that the human-wave assaults employed by the NVA/VC on Col. Kirby’s camp in the film would never have happened in genuine life. In point of fact almost 90% of the fighting in Vietnam was of the primitive type in the Central Highlands or the valleys (“We Were Soldiers”) while only 10% of the troops were employed in the rice paddies you perceive in movies like “Platoon.” Whenever the NVA fought out in the start, a la the Tet Offensive, they were well and truly beaten, but their leadership was ruthless and understood that by trading 5 Vietnamese lives for one American, the U.S. will to fight would eventually crash. They knew the American public had only tepid encourage for Vietnam and would not secure the losses. The result, of course, we all know. Hanoi Jane what she wanted and so did Uncle Ho. Too poor Jane didn’t go succor in say, 1975 and exhaust some time in a re-education camp. They could have taken pics of her in a tiger cage, eating bugs and rotting from typhus.
If you are reading this you probably know the epic of the movie.
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John Wayne’s Col. Kirby and his elite Special Forces “A” Team (no, not the one with Hannibal and Face and B.A. Barracus) is sent to Vietnam to set aside atrocious camps which offer protection to the local farmers from the murderous Viet Cong (whose crimes against their contain people are well documented here) . The soldiers philosophize the locals how to fight while providing basic medical care and 20th century improvements to their primeval plan of life. There is the usual gargantuan John Wayne type battle as the VC try to overrun the camp, followed by a commando raid deep into enemy territory, and a tragic-heroic ending. But the movie is more than the sum of its parts. It is not mere entertainment, it is personal propiganda, designed to indicate the Duke’s argument for why America was fighting in Vietnam at all. The only failing is its sappiness and jingoism, which originate it easy for opponents to ridicule. But making fun of it doesn’t lift away the fact that the Duke’s argument was based on something he is rarely credited for — human decency. What “good” did we have in Vietnam? I guess the same “honest” we had to land on the beaches of Normandy. We had no “just” at all — it was objective the “fair thing to do”, to attend a awful government (South Vietnam) against a noteworthy worse government (North Vietnam) that customary methods like mass killings of teachers, civil servants, nuns, missionaries, and village chiefs to destabilze the South and forcibly unite the country. You can argue about the legitimacy of taking sides in a civil war all day, but any country that uses methods like burying people alive and raping women to death as a matter of military policy probably deserves to be opposed, yes?
Anyway, let me rob a moment to say I Esteem THIS FREAKIN’ MOVIE. Growing up, proper feeble Washington D.C. Channel 20 (remember when you only had ABC, CBS, NBC, PBS and your one local channel? Channel 20 was ours) played this movie, (along with “The Battle of the Bulge” and “The Bridge at Remagen” and some other classics) about once every other day. Even the notion of it brings a smile to my face. Here was a guy, John Wayne, who had the guts to effect a film this flag-shakingly lawful skim at a time when patriotism was growing unfashionable and millions of people were abandoning and spitting on the ideals that he embodied — which, by the contrivance, a few of us peaceful have factual. As a movie, “The Green Berets” has a hard ideology of anti-communism and shows the newfangled Special Forces as a sort of elite brotherhood consecrated to fight against it. I assume a lot of the abominate directed against this movie comes from the surity of Kirby’s (meaning John Wayne’s) beliefs. They are rock-solid and not up for debate or negotiation. He understands what will (and did) happen to Vietnam if the North wins the war, and fights bitterly to prevent this from happening, while simultaneously trying to net over a stubborn journalist who has legitimate doubts about our involvement. No quiz, this movie is jingoistic and predictable, a Vietnam war movie packed in WWII casing, but who cares?
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