'Soldiers' not the typical war film
By Ernie Hatfield
Old Gold and Black Reviewer

Though the masses may be flooding the box offices to see We Were Soldiers in the name of patriotism, this film is not a sugar-coated portrayal of the American spirit triumphing over evil during times of war. Rather, it is a truthful portrayal of an isolated battle during the Vietnam conflict, documenting the struggle of one outnumbered military unit, a tribute to bravery under fire.

The story tells of the preparation and deployment of the First Battalion of the Seventh Calvary, led by Col. Hal Moore. In an attempt to gain an edge over North Vietnamese troops, the battalion landed in the Ia Drang Valley, later known as The Valley of Death, on November 14th, 1965, in the first major battle between the two sides, one of the bloodiest episodes throughout the entire conflict.

The film is not your average war picture; its horizons are somewhat broader than others in the genre. Even though it focuses upon a single battle and a limited number of characters, We Were Soldiers also depicts the nature of war from perspectives other than those of the U.S. troops.

Off and on, the actions of the Vietnamese troops are portrayed, which offers a unique perspective other war films don't provide, a less biased view of the battle. In addition to this, a surprisingly large amount of time is dedicated to telling the story of the wives of battalion members, as they bind together back home on the base, helping each other deal with grief and loneliness.

Based upon the book by Moore and Joseph Galloway, a journalist who witnessed the battle firsthand, the film offers not only a solid, historically-based story line, but an exceptional cast as well.

Mel Gibson, the perennial leading man, is perfect for the role of the passionate and battle-ready Moore, the tougher-than-nails colonel whose strategic know-how and undying bravery led his 400 or so men to a victory over an enemy whose numbers neared 2,000. His performance, though not Oscar caliber, is particularly enjoyable, his experience and ability carrying the film even in its few dull moments.

Galloway, the courageous journalist, is played by war movie veteran Barry Pepper. Having proven his ability to thrive in a dramatic role in big budget hits like Saving Private Ryan or The Green Mile, Pepper is convincing as the dedicated photographer who placed himself in harm's way to make sense of the war, looking for a story to tell. As the Vietnamese troops encroach further upon the battalion, Galloway is forced to put down his camera and pen and pick up a rifle. Pepper's acting mirrors the transformation of a civilian becoming a soldier to defend his own life and those of the wounded.

Sam Elliot's portrayal of Sgt. Maj. Basil Plumley is a joy to watch on the big screen. His gritty demeanor and subtle, dry sense of humor make him a perfect fit for the cranky workhorse, meaner than a snake, but too cantankerous not to love.

Moore's lovely wife Julie is another solid character, played by Madeleine Stowe. The compassionate wife took it upon herself to deliver telegrams announcing cavalry members' deaths to their family members living on the base, bringing comfort and support. Stowe is good in the role, loving and strong-willed.

The final noteworthy performance is that of Greg Kinnear, who is surprisingly decent in the role of Major Bruce Crandall, a helicopter pilot in charge of flying in additional troops and ammunition and flying out the wounded. In one of the most perilous roles of the campaign, Kinnear does well to express a resiliency in the face of impossible odds, a compassion for his dying comrades and a witty sense of humor even in dangerous skies.

A minor weakness in the story is an underdeveloped sub-plot regarding a parallel between Moore and General George S. Custer. Though Moore is somewhat superstitious because Custer's brigade was also the seventh cavalry, his fears seem ungrounded. While the book may better develop this line of thought, the film brings it up at inopportune times, placing more emphasis on it than other more valuable elements such as character development, for example. However, this does not detract much from the larger film.

The music is beautiful and expressive, the cinematography bold during tense moments and the script is always believable. While the graphic imagery is often shocking, one must still appreciate this harrowing transmission of an important moment of an essential element of the U.S. experience.

When the film closes, those soldiers who lost their lives during the conflict are recognized as Mel Gibson walks along the wall of the Vietnam War Memorial. The film packs a strong emotional punch in and of itself, but seeing the names and hometowns of the young men to whom the film is dedicated, one cannot help but feel some kind of emotion, whatever the nature of one's feelings toward war or the rightness of U.S. troops in Vietnam.

Leaving the theater after the credits, one should not be surprised to find a silent, subtle line of people strolling up the aisle, other citizens who perhaps expected to see the American heart glorified and victorious, but experienced something much more than that, something important and real.