Blog Entry #4 - We Were Soldiers - “But in the end, they fought not for their country or their flag - they fought for each other.”

“But in the end, they fought not for their country or their flag - they fought for each other.”
We Were Soldiers - Blog #4

(For the items I refer to in this entry, start at 0:41)

Genre: Action/Drama/History

Directed By: Randall Wallace

Written By: Harold G. Moore (book) Joseph L. Galloway (book) & Randall Wallace (screenplay)

Starring:

Mel Gibson as Lt. Col. Hal Moore

Madeleine Stowe as Julie Moore

Greg Kinnear as Maj. Bruce 'Snake' Crandall

Sam Elliott as Sgt. Maj. Basil Plumley

Chris Klein as 2nd Lt. Jack Geoghegan

Keri Russell as Barbara Geoghegan

Barry Pepper as Joe Galloway

Duong Don as Lt. Col. Nguyen Huu An 

Faith - is something we all innately possess. Whether we choose to hold belief in a higher power, the universe, or even just ourselves, faith is one of many guides and influences upon the junctures of our lives. Upon viewing Randall Wallace’s We Were Soldiers after quite some time, it easily re-solidified its stance as a personal favorite among the war film genre. By appealing to the humanity within us all, and showing the viewers that those who wear a uniform are much more than simply that - rather than just merely perpetuating and recreating the violence of the battles of old, it serves as a fantastic display of what kind of gripping storytelling can be achieved.

The film tells of Lieutenant Colonel Hal Moore, along with the men of 1^st Battalion, 7^th Cavalry, and their endeavors spent overseas on the soil of Vietnam - specifically, in the Ia Drang Valley, which came to be known as “The Valley of Death”, and as the first major battle of the Vietnamese War. The action is gruesome, but the true-to-life horror is matched by the heroism and morality of the men in combat. But, what makes this notion so intriguing in how most war films are blatantly in favor of the Americans, and hoist them onto the pedestal as heroes either right from the get go and hold us high, or inevitably place us upon that grand position in the end. Wallace decided to do things a little differently, and appeal to both sides of this conflict - and the barefaced fact that they are also men of faith.

Many scenes within this work I found truly memorable- and the approach by which it was done was a carefully orchestrated symphony in itself. The film takes almost 45 minutes to establish the foundation - that these soldiers are family men, with wives and children. One of the best scenes to clarify this to the viewer is the party held prior to their departure, where an establishing shot from far away makes it seem like any other. But, as the camera comes closer, and we see the emotion on the faces of the soldiers and their wives, we see the dread, the fear, and the sorrow. The very simple fact that yes - the possibility exists that they may not come back from the job they’re obligated to undertake. Arguably the most compelling non-combat scene is where Gibson, as Lt. Col. Moore, is sitting on the bed beside his wife the very night they’re to leave in full gear. The lighting helps to establish the looming trepidation, and the tension is there. Then, in a resolute act, he steps out of his home into the night, dons the kevlar helmet, and marches alone to meet the rest of his men under the glow of the light in the dark. His men show up, and they stand unwavering in the night, beacons of the light - heroes. The symbolism here, paired with the aesthetics and musical score are incredibly powerful.

Additionally, the use of juxtaposition was masterful towards the end of the film in one instance in particular. Hal and his men are victorious in driving back the Vietnamese with a surprise attack before their own at dawn. Major “SnakeShit” Crandall flies in right before Vietnamese soldiers are able to regain their composure and use heavy weaponry to shift the tide of the American assault - and he lays waste to handful upon handful of enemy combatants. Upon the completion of this assault, Lt. Col. Nguyen surrenders and orders his men to withdraw. Afterwards, a battle-worn Joseph Galloway, who was crazy enough to place himself in the middle of the conflict as a non-combatant journalist (though the son of a family of soldiers) is seen next to the innocent gaggle of journalists flown in by helicopter who immediately bombard him, and Lt. Col. Moore with questions. After both of them dismiss the journalists, we see how this incident, in Moore’s eyes, solidifies Galloway as the man to tell the story to the world - because he earned his right to be there. To fight, and perhaps to die, beside him and the men of the 7^th Cavalry.

In summary, the mechanics, paired with the profound symbolism within We Were Soldiers help to provide a storytelling experience beyond the norm. As time passes, these principles we learn and practice are becoming more and more evident to us in the movies we watch and re-watch, and on our own projects. These techniques go hand in hand with the product we produce, and every day I’m reminded of the fact that there is a direct correlation between the effort - and the results achieved. A great work doesn’t just “look good” - it also stirs the heart.