I saw Coppola's film twice, once because of his reputation, and the second time to see if I was missing anything. It was a very long two hours to discover that I hadn't.
The film is beautifully shot, the script looks like it is going somewhere, and we wait for something to happen. And we wait.
The film feels exactly like Waiting for Godot. In both the play and the film, nothing happens. Two major differences between them is that in the play, the author (and the audience) knows nothing is going to happen, and the film doesn't know this. The other huge difference is that "nothing happens" in the play in a fun and entertaining way, while the film...doesn't.
James Caan tries very hard playing a military man, but he looks and sounds like James Caan wearing a uniform. I never got the sense that I was looking at an actual soldier. His character is quiet and distant, and we are supposed to relate to him on an emotional level, as he is the core of the film.
POSSIBLE SPOILERS: Unfortunately, we can't, despite the fact that the film tries to build a relationship between him and a peace activist (we know how many soldier/peace activist relationships there were then), Angelica Huston, who seems as convincing an activist as Caan is a soldier. So what are we left with? That is the question that haunted me throughout the film.
There is the obligatory confrontation between the stereotypical long-haired unappreciative liberal and James Caan at a party. The liberal attacks Caan verbally, then lays his hands on him (peaceniks are like that). Caan responds by punching him several times in the throat, then while the hippie liberal is lying face down in the dirt gasping, grinds his face into the dirt with his shoe in the back of the guy's head, as if he is putting out a cigarette. Someone has to pull him off the guy.
This scene was carefully set up as a central moment in the film. What was the point of it? I guess (and I found myself guessing at a lot of the deeper meaning of some of the dialogue and scenes), it is to show that Caan is a soldier who has seen too much war, is in a place he doesn't want to be in (burying young dead soldier's whose sacrifice is scorned) when he would rather be fighting, and is surrounded a nation hostile to the war and the soldiers who fight it.
However, if Coppola wanted to present that, he should have presented it differently than this. The effect of the scene is to make us either want to call a cop and have him taken away, or to get the hell away from him to avoid brushing into him accidentally and having the same thing happen to us.
In the end, Caan tells his peace activist girlfriend that he has decided to sign on for another tour of duty as an "errand of mercy" to try to save more young lives from being senselessly wasted.
The movie ends shortly thereafter, with Caan saluting a dead soldier's coffin at a funeral.
But let's back up here for a moment to the poignant moment when Caan tells Huston he is going back to 'Nam, to save young men's lives.
Caan knows this is a losing war. He is at a critical juncture in his life; he can do something truly difficult and brave at this point, and at a personal cost much higher than going back to war: he could, as a soldier, publicly speak out against the war and its senselessness, and the horrors he has seen; the deaths of his soldiers, and the slaughter of Vietnamese citizens by troops. He would be seen as a traitor to the military of course, but he would be speaking his mind, truthfully, (as he has privately to his girlfriend and his friend James Earl Jones), could testify before Congress, and could join the cause to end the war. If his efforts helped to shorten the war by even a few days, that would have saved hundreds of lives, more than the few he hopes to save.
His offering to return to Vietnam sounds very noble, but is comparable to a Southern officer in the Civil War offering to return to the front lines; to what point? To die along with the rest of the men in a losing war? There is no flavor, let alone poignancy, to this statement by Caan. And at the end, that is reflected in his salute to the dead soldier's coffin, whom he may be joining soon; and just as senselessly.
Not a good or profound statement by Mr. Coppola, if he was trying to make one.
The film is beautifully shot, the script looks like it is going somewhere, and we wait for something to happen. And we wait.
The film feels exactly like Waiting for Godot. In both the play and the film, nothing happens. Two major differences between them is that in the play, the author (and the audience) knows nothing is going to happen, and the film doesn't know this. The other huge difference is that "nothing happens" in the play in a fun and entertaining way, while the film...doesn't.
James Caan tries very hard playing a military man, but he looks and sounds like James Caan wearing a uniform. I never got the sense that I was looking at an actual soldier. His character is quiet and distant, and we are supposed to relate to him on an emotional level, as he is the core of the film.
POSSIBLE SPOILERS: Unfortunately, we can't, despite the fact that the film tries to build a relationship between him and a peace activist (we know how many soldier/peace activist relationships there were then), Angelica Huston, who seems as convincing an activist as Caan is a soldier. So what are we left with? That is the question that haunted me throughout the film.
There is the obligatory confrontation between the stereotypical long-haired unappreciative liberal and James Caan at a party. The liberal attacks Caan verbally, then lays his hands on him (peaceniks are like that). Caan responds by punching him several times in the throat, then while the hippie liberal is lying face down in the dirt gasping, grinds his face into the dirt with his shoe in the back of the guy's head, as if he is putting out a cigarette. Someone has to pull him off the guy.
This scene was carefully set up as a central moment in the film. What was the point of it? I guess (and I found myself guessing at a lot of the deeper meaning of some of the dialogue and scenes), it is to show that Caan is a soldier who has seen too much war, is in a place he doesn't want to be in (burying young dead soldier's whose sacrifice is scorned) when he would rather be fighting, and is surrounded a nation hostile to the war and the soldiers who fight it.
However, if Coppola wanted to present that, he should have presented it differently than this. The effect of the scene is to make us either want to call a cop and have him taken away, or to get the hell away from him to avoid brushing into him accidentally and having the same thing happen to us.
In the end, Caan tells his peace activist girlfriend that he has decided to sign on for another tour of duty as an "errand of mercy" to try to save more young lives from being senselessly wasted.
The movie ends shortly thereafter, with Caan saluting a dead soldier's coffin at a funeral.
But let's back up here for a moment to the poignant moment when Caan tells Huston he is going back to 'Nam, to save young men's lives.
Caan knows this is a losing war. He is at a critical juncture in his life; he can do something truly difficult and brave at this point, and at a personal cost much higher than going back to war: he could, as a soldier, publicly speak out against the war and its senselessness, and the horrors he has seen; the deaths of his soldiers, and the slaughter of Vietnamese citizens by troops. He would be seen as a traitor to the military of course, but he would be speaking his mind, truthfully, (as he has privately to his girlfriend and his friend James Earl Jones), could testify before Congress, and could join the cause to end the war. If his efforts helped to shorten the war by even a few days, that would have saved hundreds of lives, more than the few he hopes to save.
His offering to return to Vietnam sounds very noble, but is comparable to a Southern officer in the Civil War offering to return to the front lines; to what point? To die along with the rest of the men in a losing war? There is no flavor, let alone poignancy, to this statement by Caan. And at the end, that is reflected in his salute to the dead soldier's coffin, whom he may be joining soon; and just as senselessly.
Not a good or profound statement by Mr. Coppola, if he was trying to make one.