I’m a Cyborg… But That’s Ok: Review of Robocop

Classic from the Vault

Robocop (1987)

Director: Paul Verhoeven

By Alex Watson

 

The world of Paul Verhoeven is a very interesting one, and at times it can be a very full on experience! The Dutch director has produced some varied results over the years starting with his well acclaimed war drama Soldier of Orange, to making the violently entertaining future film Total Recall, to full frontal nudity with Sharon Stone in Basic Instinct to finally US Marines battling massive bugs in the far off future in Starship Troopers. But it was a cyborg policeman, who was to give Verhoeven his biggest hit, blood sprays and the law is served in Robocop.

Set in futuristic Detroit, the city has now evaporated into a cesspit of crime and drugs and now it is pretty much a warzone! The city is controlled by giant corporation OCP who are planning to re-build Detroit into Delta City! Meanwhile veteran officer Alex Murphy (Peter Weller) has just transferred to a new rougher precinct, and is partnered with rookie officer Anne Lewis (Nancy Allen). On their first patrol Murphy is brutally murdered by arch villain Clarence Boddicker (Kurtwood Smith) and his gang! OCP realize that humans are becoming inadequate to enforce the law use Murphy’s remains to transform him into Robocop. Very soon a new presence is shaking up the streets!

Robocop is a good all fashion shoot ‘em up with a slice of a cop with a grudge thrown in for good measure. But more than anything it gave Paul Verhoeven free reign to explore his love of mayhem!  The final body count in Robocop stands at 30, more than many films of its kind! And when the death’s come the corpses are literally riddled with bullets! Although the effects may look cheap in today’s world, it still makes for a very entertaining piece.

But aside for the blood splatter, the film has a main character that we warm to. Alex Murphy is presented as a likable and decent man, so when Boddicker and co literally blow him to bits, our hearts sink! But when he is retooled as Robocop, we quickly realised that Murphy’s memories are intact and that his justice will be swift and twice as brutal.

But the real villains of the film are the corporation OCP, who are presented by Verhoeven as the tyrannical rulers of Detroit. They are company so keen on power that they have taken advantage of world that is out of control! OCP have also privatised the Police Force to make way for more robotic replacements and thus making more money! People’s lives come second to progress in the corporate world.

This notion is painfully demonstrated when the original robot model ED-209 malfunctions and fiercely kills a young executive during a board meeting! The president reprimands Dick Jones (Ronny Cox) not for the murder but because they will lose money because of the production delay! Verhoeven based OCP on the Nazi occupation of Holland during his childhood, this view of Totalitarian rule he would explore his feature Starship Troopers.

Although star Peter Weller spends most of his time behind an armoured suit, he is still an engaging presence and his early scenes with Nancy Allen are very heartfelt and we wish we could have seen more of Murphy before his demise. Ronny Cox makes for the perfect slime as suit wearing Jones; Cox would later play a similar role in Verhoeven’s Total Recall. But as the villain it’s Kurtwood Smith that has the most fun. As Boddicker he is perfectly insane, his sadistic love of mutilation make us open mouthed in shock, it is a shame that we haven’t seen him in similar role since.

Robocop by far Paul Verhoeven’s greatest work, his mixture of action and utter madness is the perfect blend for this futuristic battleground! After this film his work went downhill and it wasn’t until 2006 Dutch film The Black Book that he was finally redeemed. But for a reminder of how great his work can be then revisit a blood splattered classic, as Robocop would say “Thank you for your Cooperation!”

Wanted Dead or Alive: Review of The Dictator

The Dictator

Director: Larry Charles

By Alex Watson

 

For months now the advertising campaign for Sasha Baron Cohen’s new film The Dictator has been in full swing. Controversy arose when S.B.C was ejected from red carpet at the Oscar’s for spilling an urn of ashes over presenter Ryan Seacrest. But it wouldn’t be a Sasha Baron Cohen picture without a few feathers being ruffled. We all remember when Borat was released to the world- there were many lawsuits filed but the audiences and the box office spoke loudest of all! So now we turn to his newest creation, but will it be as fresh and funny as his Kazakhstani counterpart?

The Dictator follows the leader of fictional nation Wadiya where ruler General-Admiral Aladeen (Sasha Baron Cohen) has for years has been ‘lovingly oppressing’ his beloved nation. He views himself as the darling of the country, when in reality he is merely a spoiled child who people are afraid of. But the rest of the world doesn’t admire his brutal style and the UN begins to clamp down on Wadiya’s nuclear weapons project. Unfazed by this Aladeen travels to New York to give a speech to the west. But whilst there he is abducted and his enemies attempt to kill him! But when the attempt is botched Aladeen finds himself stranded with nowhere to go.

Larry Charles’ piece delivers the laughs as usual and this has Baron Cohen’s stamp all over it. The pair originally team for Borat and it appears that they seem to be an ideal match when it comes to comic creations. But although there is humour to be had, The Dictator feels it would be better suited to a TV skit than a full length feature. Here although the usual gags of sex jokes, stereotypes and comic misunderstandings are present here, in many places the comedy just feels strained and some comic skits just feel overly long!

The representations of Aladeen spoiled life in Wadiya are among the best moments in the movie. Never before has absolute power seemed fun, particularly during the rigged Wadiyan Games, where the leader wins the 100m final but shooting everyone in sight! As the movie goes on, there are more mentions of his rule we would like to see more of, such him being Head of Surgery. Here it feels like a missed opportunity that they didn’t expand on this.

A saving grace for The Dictator is the romantic story between Aladeen and feminist health food shop owner Zoe (Anna Faris) this section gives the movie an un-expected warmth as the great dictator must learn to love other subjects. The chemistry between Faris and Baron Cohen works surprisingly well and gives a much needed humanity to the General.

But you can’t help feel that we are perhaps making too many comparisons to Ali G and Borat, with their raw and un-ashamed humour the two characters were comic gold for their time. After the disappointment of his last feature, Bruno– Baron Cohen has elected to go back to the drawing board and try something new. Aladeen is an interesting creation but not one that stretches the talents of Baron Cohen.

Anna Faris impresses in this as Zoe, for years now she has been one of the most reliable comedic actresses and it feels strange that her talents haven’t been better recognised. Ben Kingsley also appears as Aladeen’s seedy right hand man Tamir, but he feels drastically underused and we feel that pushing him into more of a central villain role would have given the film more bite!

The Dictator in time probably won’t be one of Sasha Baron Cohen’s greatest pieces, but it does prove that the man has many ideas and that in the future we can expect something truly special. Sasha we lie in wait for what else lies on that drawing board!

Teenage Dream: Review of Badlands

Classic from the Vault

Badlands (1973)

Director: Terrence Malick

By Alex Watson

 

When waiting for a Terrence Malick film to appear, one can be waiting rather a long time. And when they do come along, we take what we can get. The director has become something of an enigma in the world of cinema and since the 1970’s he has only made six films. Notably he took a 20 year hiatus from making his landmark film Days of Heaven in 1978 to his comeback in 1998 with The Thin Red Line. But what makes his films so notable? With Malick’s films they are always beautifully shot and there is always a dreamlike quality to all his features. But more than anything Malick is able to perfectly capture the beauty and brutality of youth in his pictures. Through this we got one of the best debut features of all time and one of the 1970’s great films in Badlands.

The film focuses on young teenager Holly (Sissy Spacek) who falls in love with rebel Kit (Martin Sheen), but when their romance is threatened by Holly’s stern father (Warren Oates), Kit shots him and the couple go on the run!  At first things seems idyllic as the couple find refuge at riverside hiding place, but soon bounty hunters find them. The couple then flee towards Canada and as they do Kit’s murderous spree begins to spiral out of control, which will lead them to a showdown in the Badlands in Montana!

Badlands is a very hypnotic feature, with stunning visuals by Malick. His use of natural light gives the film a very romantic feel and adds to the surreal quality of the film. As the film opens to Carl Orff’s ‘Gassenhauer’ it feels like we are entering a dream where everyone is fine and happy. But very soon the rug is smartly pulled from underneath! Malick’s juxtaposition of images is superbly demonstrated, for every lovely image, there is a corrupted one right next to it such as bullet riddled corpses and dead dogs.

But the most shocking aspect of the film is Malick’s casual representation of violence. Throughout the film he never glamorizes the path that Holly and Kit undertake. Through Spacek’s monotone narration gives Badlands an icy chill. As the couple go on the road, Holly narrates the beautiful, yet horrific events as if they are on some great adventure. Her naivety blinds her and when the killings start, rather than running a mile from her trigger happy boyfriend, she merely shuts it out and continues on.

The relationship between the two leads is very romantic but also very destructive. Their initial passion for one another gradually deteriorates as the bodies begin to stack up!  Kit is an intriguing character, a man who possesses a very dark edge, but yet is a charming young man. When Kit murders Holly’s father, he seems almost polite about it and asks him “Suppose I was to shoot you? How’d that be?” this effect makes his murders all the more frightening!

Performance wise Martin Sheen and Sissy Spacek give two mesmerising central turns. Spacek gives Holly a doe eyed innocence that draws us to her, as events transpire she seems to be de-sensitized to ensuing violence and we wonder what the affect effects will be. After this Spacek would go on to be a very in demand actress and from this performance it was well deserved. Martin Sheen gives one of his best performances as Kit. Based on killer Charles Starkweather, Kit is presented as cruel and evil child but who also believes in manners and courtesy. Through the film his actions grow more shocking but his humanity makes us almost feel sympathetic for him.

Badlands is the perfect place to begin your Malick education because it is one of the true classics for American cinema. His films always leave you engaged to the very end and his images portrayed are always memorable.  Badlands will remain his signature film and its cold yet beautiful feel will leave you thinking about it for days. We lie in wait for Malick’s next feature, the only question remains, how long will be this time?

Adrenaline Junkie: Review of The Raid

The Raid

Director: Gareth Evans

By Alex Watson

 

It’s always an amazing feeling to leave the cinema with a massive buzz from the great action film you have just witnessed. This kind of film makes for great viewing and always give you something to discuss for weeks afterwards. Films like Die Hard fit firmly into this category because they give us pure entertainment value. But in the last few years there hasn’t been an action film that has real left us totally astounded. Well Action fans can start celebrated again because we have found a film that more than fits the bill, Indonesian film, The Raid.

The Raid focuses on a rookie police officer Rama (Iko Uwais) who is involved in a raid on a high rise Jakarta building which is home to drug lord Tama (Ray Sahetapy). For years Tama has held this part of town in the palm of his hand, and now the cops are determined to bring him down. Initially the raid is a success but then the word gets out the cops are in the building! In response Tama battens down the hatches and makes sure the cops are trapped with no escape! Rama is now faced with fighting his way out, even though he knows that all 30 floors are filled with blood thirsty killers!

The high octane feel of The Raid is present from the very start and this is a feeling that never relents! For the first in years we have an action film that delivers exactly what it promises- fast paced action where the audience has to fight to catch its breath! During the fight scenes this effect comes into play, particular when star Uwais fights with a baddie whilst falling from three storeys above! This how action films are made and director Gareth Evans has put this one up with the very best!

Although the plot might seem formulaic- cops against bad guys armed to the teeth with guns, it’s the tight and claustrophobic feeling that keeps us hooked! After a calm and slow build up, the film goes into overdrive when the cop’s presence is discovered! From there it becomes a chest tightening experience- particularly as we know there is nowhere for them to run! There are the usual twists and turns to keep us connected to the plot, but after the constant adrenaline you will feel grateful for the rest!

Perhaps the most surprising thing of this Asian film is that it was directed by a Welshman! Gareth Evans has now announced himself to the world stage and he has given us one of the films of 2012! Through his jerky and uneven camera movement he leaves us constantly breathless! In The Raid he brings across a polished western feel, this brings the film above the normal cut and paste action thrillers of recent years, all the while still preserving the manic feel of Asian cinema.

But the biggest find in The Raid is star Ido Uwais, who was discovered working as a delivery man in Indonesia by Evans in 2007 while he was making a documentary. Well it seems he was a great find because we have a fascinating new action star on our hands. As Rama he is effortlessly cool, but has a great human side to him in his quiet moments. All the way through his martial art skills leave us open mouthed! Especially during the final double attack sequence on henchman Mad Dog (Yayan Ruhian), which is seemingly destined for cult fight scene status!

This year you will be hard pressed to find a better and more entertain action film than The Raid! The mass critical acclaim on the film festival circuit proves this. Both Evans and Uwais make a brilliant combination together and I cannot wait for the sequel for this to materialize.  I can confidently predict this will be high up on my films of the year list! But be warned your heart might stop any given point!

 

Protect and Serve: Review of Witness

Classic from the Vault

Witness (1985)

Director: Peter Weir

By Alex Watson

If anyone ever mentions a film starring Harrison Ford then our minds automatically imagine him at the helm of the Millennium Falcon in Star Wars or with his trusty hat and whip in Indiana Jones. But rarely do people think back to his performance in Peter Weir’s 1986 classic Witness. This film gave audiences a very different view of love between two opposite worlds and gave Ford a new hero persona.

Witness follows Philadelphia police officer John Book (Harrison Ford). At the beginning of the film young Amish boy Samuel Lapp (Lukas Haas) witnesses a brutal murder by corrupt cop Lieutenant McFee (Danny Glover). Book is assigned to the case and after discovering the killer was a cop, he shares his suspicions with his Chief. After McFee attempts to kill Book, he realises that neither he nor the boy and his mother, Rachel (Kelly McGillis) are safe. To protect them he his forced to go deep into hiding within the Amish community, all the while knowing the killers are out for revenge.

The unique story line gives Witness its main strength, the plot takes its time to get started and the first act builds up gradually. After Book is nearly murdered in a botched ambush, the movie kicks into life and it is from there that we begin to connect with him. Book as a man accustomed to violence has difficulty adapting to the ways of the pacifist Amish. The community is deeply suspicious of outsiders and when Rachel shows an interest in Book, it sparks friction. But as Book comes to play protector to them, the walls are broken down they come to accept him. As he leaves he is told “You be careful out among them English.” This is a final mark of respect is given to him.

The romance element to the story is one the most interesting aspects to the movie, we know their romance is strictly forbidden, but we can see that Rachel and John book love and respect each other deeply because of the danger they have shared. With their love the simplest gestures cause the biggest waves. At a barn raising (a very significant event for the Amish) Rachel shows her interest in Book by pouring a glass of water for him before any of the others. But even though we hope them to find a way to make things work, we know their worlds are two different to co-exist peacefully.

Peter Weir is one of cinema’s most established names and through his previous pieces such as The Year of Living Dangerously, The Truman Show and Gallipoli he has proven himself as an original story teller. He is main strength as a director is his ability to demonstrate people and places. In Witness he proves this further, assisted by a great script by William Kelley and Earl Wallace, Weir gives us a man in a difficult place that has to go against the only thing he knows in order to stay alive.

Harrison Ford gives the best performance of his career in this film, as John Book he is tough and strong willed. But as he comes to bond with the boy and his mother Ford gives Book a more tender side. Through this it gives him strength at the pictures finale and we just know he will protect them, even if it means his life. This is one of Ford’s most under-rated performances and he was rewarded with his sole Oscar nomination. Elsewhere Kelly McGillis is impressive as Rachel, a widow who comes to like Book. She has an engaging presence on screen and the chemistry between her and Ford works like a charm. Lukas Haas in his debut performance is great as Samuel; his youthful naivety to the world gives him an almost angelic quality. But later on we realize he is more resourceful than we first realize.

Witness is possibly Peter Weir’s greatest piece of work; his solid direction gives us a very different kind of romance and a hero forced to hang up his guns. For evidence that there is more to Harrison Ford than fighting Nazi’s or the Empire, then please give Witness a look.  For the very outset it will have you gripped and the feeling never relents. Who knows, it might even make you want to give up your big city life and go Amish instead!

Vampire Weekend: Review of Dark Shadows

Dark Shadows

Director: Tim Burton

By Alex Watson

 

Everyone can tell a Tim Burton movie when it is showing, his unique blend of dark humour and quirkiness has won him many fans over the years. Ever since taking the helm in Batman in the early 1990’s his work has evolved produced many fine pieces of cinema such as the strange yet heart-warming Edward Scissorhands and his fine homage to cinema’s worst director in Ed Wood . For his latest piece Burton chose to adapt the television series Dark Shadow’s, a soap opera created by Dan Curtis that ran from 1966 to 1971. This show has gained a cult following in the US since its creation, but in the United Kingdom, it remains largely unknown. Can Tim Burton bring it larger attention?

The story begins in Maine, New England in 1752 where local business giant Barnabas Collins (Johnny Depp) rejects the love of witch Angelique Bouchard (Eva Green). As a punishment she sends Barnabas’ love Josette (Bella Heathcote) to her death by making her leap off a cliff and turns Barnabas into a vampire so his suffering will be permanent. Also as a final insult Angelique has him buried alive! But Barnabas awakes in 1972, he finds the world has become a very different place and his once great family, led by Elizabeth (Michelle Pfeiffer) have been reduced to nothing! Barnabas now re-united with his love ones, vows to restore his family to glory.

Dark Shadows certain has the Burton feel surrounding it and his usual dark blend fits the feel of the picture. For the most part, Dark Shadows works well and it provides us with as many giggles as it does shocks. The 1970’s setting is a great ground to showcase Barnabas’ misunderstanding of what it means to be human. As re-awakens he finds himself spooked by such things as lava lamps and a massive McDonald’s sign. His struggle to adapt to the world provides the comedic element of the film.

But aside for the funny moments, this film also has a dark and sinister edge to it and we forget for large periods that Barnabas is indeed a vampire.  When he murder’s his victims it does give us a soft shock. In particular when he is sat quoting Love Story at length to a group of free loving hippies and the people are fascinated by him, then he coolly announces “However, it is with sincere regret that I must now kill all of you. “ In this moment we don’t know whether to laugh or let out jaws drop.

But although it feels typically Burton, it doesn’t feel like vintage by any means. The story line of Dark Shadows doesn’t feel like a hard stretch for either Burton or Depp. The other family members feel underused in the story and the feud between Barnabas and Angelique feels over cooked and you feel less would have been more.  Things aren’t helped by a very strange and clumsy third act where the story takes a turn into more gothic territory. Collins is an interesting character but he doesn’t quite hold our attention throughout.

Johnny Depp is as usual very watchable; a big fan of the show in real life, Depp brings his creation of Barnabas to life and gives a brilliant, charismatic performance. Eva Green is a good choice as Angelique and she does well as the ruthless witch, even though her American accent does need a little work. But the other members of the Collins family (Michelle Pfeiffer, Chloe Grace Moretz and Jonny Lee Miller) don’t get the screen time they deserve and because of this we never get to properly know they family and we wonder why Barnabas would come back to them?

Although Dark Shadows may not prove to Burton’s greatest work, it is still proof that him and Johnny Depp work best together. The two have given us some many memorable pieces and it is safe to assume they aren’t going to stop any time soon.

 

Blood, Sweat and Broken Dreams: Review of The Wrestler

New Cult Classic

The Wrestler (2008)

Director: Darren Aronofsky

By Alex Watson

A long time ago we never would have thought that Mickey Rourke’s career could possibly be resurrected and that he would be nominated for a best actor Oscar But it seems that  miracles do indeed exist and and the once fading star has hit a new milestone in his career. Since his astonishing turn as brutish Marv in Robert Rodriquez’s cult film Sin City Rourke once again caught our attention and in 2008 he rung in an amazing turn in Darren Aronofsky’s The Wrestler. The subject of Wrestling had been an absent subject for our screens previous and no film had really delved into the events outside the ring and effects is has on the athletes.  Through Aronofsky we were given a fascinating insight into the plight of one man and a brutal view of the world of wrestling.

The story tells the story of old pro wrestler Randy ‘The Ram’ Robinson (Mickey Rourke), a man who has hit bottom in life and has turned to fighting in local matches, here he is still surrounded by the one thing that hasn’t let him down. But Randy’s body is crying for him to stop, but he ignores it and fights through the pain. However he has developed a friendship with stripper/ single mother Cassidy (Marisa Tomei) and is trying to repair his relationship with his estranged daughter (Evan Rachel Wood). But more interestingly a promoter suggests a  20^th anniversary match with his old opponent ‘The Ayatollah’, is this Randy’s way back to the top or is it all too late?

At first The Wrestler sound like any old Rocky type story where someone is down on his luck and gets a second chance at the big time. If you are thinking this then stop now because this is not a tale of redemption, what we see here is a man who is truly at the cross roads of life and literally his wrestling is all he has. Randy is a fascinating character as he is seemingly ready to embrace reality yet fears the consequences of it. Here proves the heart of the story: what do you do when your body wants you to give up the only thing you know how to do? What happens when your identity is wrapped up in the career that you have to stop?

During the film Randy is forced to takes a job on a supermarket deli counter, here proves the most effective scene. As ‘The Ram’ makes his down the stairs we hear the roar of the crowd in the foreground, in this moment he is still Randy the Ram. But as he steps out into the real world the last strand of his identity is stripped away and he is now reduced to living an ordinary life.

Director Darren Aronofsky’s star has been on the rise ever since his cult film Requiem for a Dream, fans of his work will maybe not recognise this film as a work of his because it seems almost normal next to his previous outings. Aronofsky skilfully handles this film and has a way of conveying emotion and loss like no other. Hope is seemingly a far thing here and Aronofsky makes sure we know the consequences of the paths we choose in life.

Performance wise Mickey Rourke rings in the performance of his career, in some ways it feels like a personal journey of the man himself. Through Rourke we feel like we are connected to Randy, like we are his estranged relative and that we have to pick the pieces with him. The real beauty of his performance, however is that it never lowers into the sentimentality that could have threatened it. Marisa Tomei rings in strong support as stripper Cassidy, she seems to be the one thing in Ram’s life that has any possibility at all. Cassidy is similar to Ram as she a forty something who is seemingly losing appeal to the young men she tries to impress. She may just be Ram’s way out, but like him she seems reluctant to embrace the fear of the real world.

The Wrestler is the most emotional films I have witnessed in recent years but yet it never lowers itself to tear jerker status. Rocky Balboa’s journey was easy compared to the one Randy underwent and I’m sure that the Italian Stallion would concede this just as easily.

I highly recommend this and I can safely say that in the near future this film will stand proudly in your film collection.

A Trip Down Memory Lane: Review of American Pie: Reunion

American Pie: Reunion

Directors: Jon Hurwitz & Hayden Schlossberg

By Alex Watson

Many of people’s teenage years (myself include) were spent watching the exploits of the American Pie series. The original films of the series were a simple tales of teenagers on the verge of adulthood and who were trying to make the most of the remaining years by partying and romping to the max! This premise provided us with many classic moments, such as Jim Levinstein’s humping of an apple pie and Michelle’s confession about her usage of a flute in Band camp! These scenes were the benchmark of teenage comedies of the early 2000’s and have yet to improved. But can the old gang still keep the laughs rolling in American Pie: Reunion?

It has been thirteen years since the class of Great Falls 1999 graduated from high school and they have since moved onto adulthood. Jim (Jason Biggs) is now married to former band geek Michelle (Alyson Hannigan) and they have a child. Oz (Chris Klien) is now working as a sports presenter, Finch (Eddie Kaye Thomas) is now a well travelled man, Kevin (Ian Thomas Nicholas) is working as a stay at home architect and Stifler (Sean William Scott) is well… still Stifler! The gang of friends return home for a delayed class reunion and here we they mull over the past and whether the future is really as they envision it?

There’s no doubting the nostalgic feel of American Pie: Reunion and for fans of the originals all our favourite characters are all present. But this time around it doesn’t feel as new and as funny it had previously. Many of the gags just feel depressingly familiar; at the beginning of the film Jim once again gets caught jerking off and Finch has another bathroom moment. While in the original we winced with laughter, here we merely sigh. Also even though the old gang are getting up to their old shenanigans by drinking and wondered about chasing young girls there is an overwhelming sense that they are really old enough to know better now and because of this we lose the original connection we had with them.

Directors Schlossberg and Hurwitz feel like they are trying to appeal to the fan base by cramming in as many old members that they can. The pairing of both Jim’s Dad and Stifler’s mum does raise the occasional giggle (especially during a post-credits scene) but apart from that it just feel like these characters were put in solely to fill up the numbers. American Pie: Reunion was an interesting to fill us in the exploits of our favourite characters post high school but it feels like too long in the making and by this point we have all moved forward with our lives.

The cast does try their best to entertain us with Seann William Scott leading the way as Stifler, although this character is being to look dated, William Scott still provides us with my laughs. Jason Bigg is his usual nervous self as Jim but Alyson Hannigan’s Michelle has lost many of the quirks that made her character so memorable in the first film, her new character although mature just doesn’t seem interesting anymore. The real laughs are left to Eugene Levy and Jennifer Coolidge as Jim’s Dad who prove that there is life in their characters yet.

As much as I want to love this class reunion and leave with my sides aching but I just can’t. It is nice to see everyone again but around this crowd you just want to head for the exit and maybe see them again sometime. It is worth die-hard fans checking this out but be careful of nostalgia, it doesn’t always make things better.

Transmission Disrupt: Review of Good Morning Vietnam

Classic from the Vault

Good Morning Vietnam

Director: Barry Levinson

By Alex Watson

When we think of films concerning the Vietnam War; we tend to think of a tense and bloody battle scene. Films such as Platoon, Casualties of War and We Were Soldiers linger heavily in our memories from recent years which showed us the bonds of comradeship and the harsh realities of war. But none could have thought that this subject could be treated with both humour and humanity combined.  Director Barry Levinson showed us that this mould could be broken and that there were laughs to be found in the bleakest of scenarios. Through the comic genius of Robin Williams we were given another voice of war and a firm defiance to censorship in his film Good Morning Vietnam.

Good Morning Vietnam focuses on Radio DJ Adrian Cronauer (Robin Williams) who arrives in Saigon to host a morning radio show for the US Army. Cronauer immediately disregards the content set out for him by the authorities by bringing comic humour to his show and is instantly popular with the troops. For his defiance he incurs the wrath of his hard-nosed superior Sergeant-Major Dickerson (J.T Walsh) who secretly plots to destroy him. Soon Cronauer is drawn to attractive Vietnamese girl Tuan (Tung Thanh Tran) and to get close to her he begins teach her English Language class. But as he bonds with the class, his close relationship with them is tested as the war escalates and Dickerson is waiting for him to make a mistake!

Some view this film as an over extended stand up performance by Robin Williams, in some ways they are correct because the heart of the film is in his hilarious presenting style. But this is more than just a comedy, this is a film about one man trying to deflect focus off the war and give his fellow troops a reason to keep on going. One poignant scene that demonstrates this is when Cronauer entertains two truckloads of soldiers bound for the front line. As he makes them laugh we can’t help shake the feeling that many of the young men might not be returning and his brief contribution to their lives here will not be forgotten.

Good Morning Vietnam was also different from many Vietnam War films because for the first time it showed the Vietnamese population as human beings and not just enemies at the end of a rifle. Through Cronauers class with the people in Saigon we see his attempts to branch beyond the airwaves. But beneath this representation was a big question over the whether the war in Vietnam was really worth it?  In one sequence set to Louis Armstrong’s ‘Wonderful World’ we see the brutality of war first hand. The dream like and surreal quality only adds to the horrors we witness and we see effects it has on the Vietnamese people and not just soldiers.

Adrian Cronauer is a fascinating character creation and is truly brought alive by Robin Williams. His on air antics are utterly hilarious and have in stitches throughout the film; his character doesn’t believe in being censored and frequently goes against procedure. His clashes with Dickerson make us route for him further because he wants to bring the truth about the war and not cover it up like many have done. This is firmly summarised when he says to the Sergeant Major “What are you afraid of Dickerson? People might find out there’s a war going on?” But Cronauer is also a man with a heart and through his branching out to his class we genuinely feel that he does want to make a difference.

Elsewhere Forest Whitakker is impressive as Cronauer’s assistant Eddie Garlick, at first he is very nervous and by the book. But eventually he becomes close to Cronauer and gains a new confidence in himself. Through Whitakker he gives Garlick a naive innocence which allows him room to raise his character later on. The late J.T Walsh makes for a great authority figure; Dickerson doesn’t know the meaning of the word entertainment and resents Cronauer for disrupting his show. A regular villain in moves, Walsh was on familiar ground here and his presence is truly felt on screen!

Good Morning Vietnam is a very new kind of war film experience, here we don’t feel the enemy lurking in the jungle or hear the bullets echoing around! Here we are treated to laughter and wacky humour. Williams and Levinson show us another side to Vietnam and it is really worth a watch. Warning: Do expect severe side pains afterward though!