★★★★ / ★★★★
Chris Taylor (Charlie Sheen) signed up to be a soldier because he felt like participating in a war was a family legacy since his grandfather and father fought the wars of their generations. Being a new soldier, he looked up to two people who had higher ranks: Sgt. Elias (Willem Dafoe) and Sgt. Barnes (Tom Berenger). The former represented composure, control and ethics despite the craziness of war, while the latter embodied the evil, darkness, and cruelty. I thought this movie was going to be another one of those war classics that was overly long. I was quickly proven wrong because of the number of scenes that highlighted the silence and all we could hear was the rustling of the leaves as the soldiers slithered their way through the jungle. I also didn’t expect a lot of character development because war pictures often focus their energy on the epic battle sequences. The narration worked for me because the thoughts and insights that Sheen’s character was unable to talk about with his comrades was out in the open for the audiences. There was a real sensitivity to his character; the real turning point for me when I decided that I was going to root for his character was when he proudly wore his naïveté on his sleeves regarding one of the reasons why he volunteered to be a soldier. He reasoned that that the rich always got away from all the dirty work and he felt that he shouldn’t be anyone special just because he was born with money. Also, since he felt like he wasn’t learning anything in college, essentially, he might as well make himself useful by joining the army. Scenes like those when the characters were just talking and measuring each other up really fascinated me and I was interested in what ways they would change by the end of the picture. Oliver Stone, the director, helmed a war film that had an internal mologue mixed with moral ambiguities instead of taking the easier route of simply entertaining the viewers with empty explosions and guts being flung into the air. “Platoon” was gorgeously shot in the Philippines and the night scenes really captured the horror of the enemies blending into the environment. Lastly, it was interesting to see future stars such as the younger Johnny Depp, Kevin Dillon, and Forest Whitaker. “Platoon” ranks among other unforgettable war pictures such as “Apocalypse Now” and “Full Metal Jacket.”
★★★ / ★★★★
“Affliction” is a haunting film about a man (Nick Nolte) who was abused by his father (James Coburn) as a child and the ramifications of such negative parenting. I couldn’t help but watch this picture in a psychological perspective because it’s very character-driven. This is one of Nolte’s strongest film acting-wise because right from the moment he appeared on screen, I could discern that there was seriously something wrong with him. Though he doesn’t say a lot during the first few minutes, his facial expressions and body language made me reach to a hypothesis that he internalizes all his troubles. Surely enough, Paul Schrader, the director, brilliantly uses narration and grainy flashback sequences about what Nolte’s character and his brother (Willem Dafoe) have experiences under their father’s roof. I felt so bad for Nolte’s character because he lacks a coping mechanism (or even basic but effective problem-solving strategies) when a problem is in front of him. All he knows is internalization because his father taught him that in order for him to be a man (and not a sissy), he must not wear emotion on his sleeves. His internal conflict regarding his past was worsened by his decaying relationship with his ex-wife and daughter. Nolte becomes so determined to be the complete opposite of his father to the point where he couldn’t see that his daughter is afraid of his presence. He tries way too hard to impress her that he becomes this suffocating figure, who not only puts his daughter under a microscope, but also reacts so aggressively when the daughter doesn’t express enough gratitude or when she claims that she “wants to go home.” I also thought that his tendency to the want to solve mysteries when there’s no mystery to be solved was fascinating. The way I saw it was he couldn’t solve his own inner problems so he tries to look for solutions for things that have nothing to do with him. He needs to constantly compensate for his lack of internal locus of control to the point where he starts drowning in his own problems and his friends start leaving him. That downward spiral was aided by the eventual constant presence of his abusive father; I was deeply affected by scenes when the father would literally put Nolte down some more when Nolte was already feeling like less than nothing. I also thought the story was smart because Dafoe’s character, despite the abuse, was well-adjusted. It offers an alternative argument: child-rearing is not the only factor to blame. Based on Russell Banks’ novel, “Affliction” is a depressing but powerful picture because it’s very multi-layered in its portrayal of the characters and the elements that keep the story together.
Mississippi Burning (1988)
★★★ / ★★★★
Directed by Alan Parker, this based on a true story film follows Agents Rupert Anderson and Alan Ward (Gene Hackman and Willem Dafoe, respectively): how they arrived in a town in Mississippi, which predominantly favors segregation between white and blacks, and investigated the disappearances of three civil rights activists. I wish I could’ve been more into this film; it dropped my interest from time to time. Although one of its strongest elements is the stark contrast between Hackman and Dafoe’s personalities and methods of getting information, sometimes their arguments can be a bit too much. There were more than three scenes which involved the two of them arguing, which I thought was unnecessary because their actions already reflect their differences. This could’ve been a ninety-minute film without such scenes and other redundant scenes that involve burning homes and churches. I think those elements are a bit too “Hollywood” because this picture uses such images as a crutch in order to get emotions out of the audiences. They really didn’t need to because the story is powerful and important enough to instantly grab its viewers. As usual, I thought Frances McDormand is great as Brad Dourif’s conflicted wife. She might or might not know integral information about her racist husband (who also happens to be one of the members of the Ku Klux Klan) that could help Hackman and Dafoe close the case. This film is set in 1964 so the Civil Rights Movement is at the foreground. However, I would’ve liked to see an African-American to be one of the film’s heroes instead of a victim. Yes, even though it’s based on a true story, I feel like the filmmakers could’ve integrated or hinted that not only white people are doing everything they can to find the missing bodies. Other than that, this is a solid motion picture and I can understand why some university history courses do some project regarding this film. This is one of those movies that holds up a mirror in front of America: how race, fear and assumptions–to this day–still manage to bring out the darkest evil in us.