APOCALYPSE NOW: Best War Movie Ever Made

This classic by Francis Ford Coppola is inarguably the best war film ever put into celluloid. And definitely the best Vietnam War film. It has that quality which all good war flicks have: Timelessness. It was made decades ago but it appeals to the present generation as it did to the earlier generation.

The most appealing part is it shows war as it is. Ugly. Inhuman. Robert Duvall talks of liking the smell of napalm in the morning as the forest burns in the background after a napalm is dropped by American warplanes. He epitomises the then prevailing American thinking that the Vietcong could be hammered into submission.

Martin Sheen mirrors the other America. Sceptical of the Vietnam War, and watches bemused at what is happening. But patriotism stops him from disobeying orders or deserting.

Marlon Brando is a manifestation of that part of America that has gone mad in Vietnam. Something like the character portrayed by Tom Berenger in "Platoon".

The dance show in the midst of fighting areas in Vietnam by show girls gives the message that America was totally out of its depth in Vietnam. The expression on Martin Sheen's expressive face says it all.

Words cannot begin to describe the film. It can only be seen to be believed.

APOCALYPSE NOW - BLU-RAY

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Best War Movies: 'LETTERS FROM IWO JIMA"

LETTERS FROM IWO JIMA

Clint Eastwood directs the untold story of Japanese soldiers defending their homeland against invading American forces during World War II. With little defense beyond sheer will and the terrain of Iwo Jima itself, the tactics of General Tadamichi Kuribayashi (Ken Watanabe of The Last Samurai) and his men transform what might have been swift defeat into nearly 40 days of heroic combat. Their sacrifices, struggles, courage and compassion live on in the taut, gripping film Rolling Stone calls “unique and unforgettable” and which won – among 4 Academy Award nominations* including Best Picture – the Oscar for Best Sound Editing (2006).

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Best War Films: "HURT LOCKER"

THE HURT LOCKER

War is a drug. Nobody knows that better than Staff Sergeant James, head of an elite squad of soldiers tasked with disarming bombs in the heat of combat. To do this nerve-shredding job, it’s not enough to be the best: you have to thrive in a zone where the margin of error is zero, think as diabolically as a bomb-maker, and somehow survive with your body and soul intact. Powerfully realistic, action-packed, unrelenting and intense, The Hurt Locker has been hailed by critics as “an adrenaline-soaked tour de force” (A.O. Scott, The New York Times) and “one of the great war movies.” (Richard Corliss, Time)

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Best War Films: BRIDGE ON THE RIVER KWAI"

THE BRIDGE ON RIVER KWAI

Director David Lean's masterful 1957 realization of Pierre Boulle's novel remains a benchmark for war films, and a deeply absorbing movie by any standard--like most of Lean's canon, The Bridge on the River Kwai achieves a richness in theme, narrative, and characterization that transcends genre.

The story centers on a Japanese prison camp isolated deep in the jungles of Southeast Asia, where the remorseless Colonel Saito (Sessue Hayakawa) has been charged with building a vitally important railway bridge. His clash of wills with a British prisoner, the charismatic Colonel Nicholson (Alec Guinness), escalates into a duel of honor, Nicholson defying his captor's demands to win concessions for his troops. How the two officers reach a compromise, and Nicholson becomes obsessed with building that bridge, provides the story's thematic spine; the parallel movement of a team of commandos dispatched to stop the project, led by a British major (Jack Hawkins) and guided by an American escapee (William Holden), supplies the story's suspense and forward momentum.

Shot on location in Sri Lanka, Kwai moves with a careful, even deliberate pace that survivors of latter-day, high-concept blockbusters might find lulling--Lean doesn't pander to attention deficit disorders with an explosion every 15 minutes. Instead, he guides us toward the intersection of the two plots, accruing remarkable character details through extraordinary performances. Hayakawa's cruel camp commander is gradually revealed as a victim of his own sense of honor, Holden's callow opportunist proves heroic without softening his nihilistic edge, and Guinness (who won a Best Actor Oscar, one of the production's seven wins) disappears as only he can into Nicholson's brittle, duty-driven, delusional psychosis. His final glimpse of self-knowledge remains an astonishing moment--story, character, and image coalescing with explosive impact.

Like Lean's Lawrence of Arabia, The Bridge on the River Kwai has been beautifully restored and released in a highly recommended widescreen version that preserves its original aspect ratio.

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Best War Films: "BRAVEHEART"

BRAVEHEART

 Mel Gibson fights for the independence of Scotland from English rule

A stupendous historical saga, Braveheart won five Oscars, including Best Picture and Best Director for star Mel Gibson.

He plays William Wallace, a 13th-century Scottish commoner who unites the various clans against a cruel English King, Edward the Longshanks (Patrick McGoohan). The scenes of hand-to-hand combat are brutally violent, but they never glorify the bloodshed.

There is such enormous scope to this story that it works on a smaller, more personal scale as well, essaying love and loss, patriotism and passion. Extremely moving, it reveals Gibson as a multitalented performer and remarkable director with an eye for detail and an understanding of human emotion. (His first directorial effort was 1993's Man Without a Face.)

The film is nearly three hours long and includes several plot tangents, yet is never dull. This movie resonates long after you have seen it, both for its visual beauty and for its powerful story.

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Best War Films: "GLORY"

GLORY

One of the very best films about the Civil War, this instant classic from 1989 is also one of the few films to depict the participation of African American soldiers in Civil War combat. 

Based in part on the books Lay This Laurel by Lincoln Kirstein and One Gallant Rush by Peter Burchard, the film also draws from the letters of Robert Gould Shaw (played by Matthew Broderick), the 25-year-old son of Boston abolitionists who volunteered to command the all-black 54th Regiment of the Massachusetts Volunteer Infantry. Their training and battle experience leads them to their final assault on Fort Wagner in South Carolina, where their heroic bravery turned bitter defeat into a symbolic victory that brought recognition to black soldiers and turned the tide of the war. 

With painstaking attention to historical detail and richness of character, the film boasts superior performances by Denzel Washington (who won the Oscar for Best Supporting Actor), Morgan Freeman, Cary Elwes, and Andre Braugher. Directed by Edward Zwick (cocreator of the TV series thirtysomething), this unforgettable drama is as important as Schindler's List in its treatment of a noble yet little-known episode of history.

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Best War Films: "FULL METAL JACKET"

FULL METAL JACKET

Stanley Kubrick's 1987, penultimate film seemed to a lot of people to be contrived and out of touch with the '80s vogue for such intensely realistic portrayals of the Vietnam War as Platoon and The Deer Hunter. Certainly, Kubrick gave audiences plenty of reason to wonder why he made the film at all: essentially a two-part drama that begins on a Parris Island boot camp for rookie Marines and abruptly switches to Vietnam (actually shot on sound stages and locations near London), Full Metal Jacket comes across as a series of self-contained chapters in a story whose logical and thematic development is oblique at best. 

Then again, much the same was said about Kubrick's 2001: A Space Odyssey, a masterwork both enthralled with and satiric about the future's role in the unfinished business of human evolution. In a way, Full Metal Jacket is the wholly grim counterpart of 2001. While the latter is a truly 1960s film, both wide-eyed and wary, about the intertwining of progress and isolation (ending in our redemption, finally, by death), Full Metal Jacket is a cynical, Reagan-era view of the 1960s' hunger for experience and consciousness that fulfilled itself in violence.

Lee Ermey made film history as the Marine drill instructor whose ritualized debasement of men in the name of tribal uniformity creates its darkest angel in a murderous half-wit (Vincent D'Onofrio). Matthew Modine gives a smart and savvy performance as Private Joker, the clowning, military journalist who yearns to get away from the propaganda machine and know firsthand the horrific revelation of the front line.

In Full Metal Jacket, depravity and fulfillment go hand in hand, and it's no wonder Kubrick kept his steely distance from the material to make the point.

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Best War Films: 'SAVING PRIVATE RYAN'

SAVING PRIVATE RYAN

Steven Spielberg's new picture, one of his best, is a sandwich. The meat of the tale concerns a bunch of U.S. Army Rangers, led by Captain John Miller (Tom Hanks), who are sent into Normandy to rescue Ryan (Matt Damon), the sole survivor of four brothers. On either side of this bold endeavor you get half an hour of unyielding combat: first, the D Day landings on Omaha Beach and, later, a consummate last stand in which too few Americans try to hold an inland bridge against too many Germans and too many tanks. Most viewers will be impressed but unsurprised by the central section; it feels wrought, and finely scripted (by Robert Rodat), and nudged by sentimentality. 

The reason that they will carry the movie lodged in their minds is the infernal, brain-shaking quality of the battle scenes; Spielberg obviously decided that blood and guts meant just that, and so he arranged his violence into a semblance of pure disorder. The illusion holds, complete with severed limbs and wellsprings of blood, and it feels honorable; Spielberg's preachy movies can be an awful grind, but, apart from a disposable coda, this new work is too swift (and often too inaudible) to weigh you down. It feels like an atonement for the sins of "Amistad."

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Best War Films: 'ENEMY AT THE GATES'

ENEMY AT THE GATES

Like Saving Private Ryan, Enemy at the Gates opens with a pivotal event of World War II--the German invasion of Stalingrad--re-created in epic scale, as ill-trained Russian soldiers face German attack or punitive execution if they flee from the enemy's advance. Director Jean-Jacques Annaud captures this madness with urgent authenticity, creating a massive context for a more intimate battle waged amid the city's ruins. Embellished from its basis in fact, the story shifts to an intense cat-and-mouse game between a Russian shepherd raised to iconic fame and a German marksman whose skill is unmatched in its lethal precision. Vassily Zaitzev (Jude Law) has been sniping Nazis one bullet at a time, while the German Major Konig (Ed Harris) has been assigned to kill Vassily and spare Hitler from further embarrassment.

There's love in war as Vassily connects with a woman soldier (Rachel Weisz), but she is also loved by Danilov (Joseph Fiennes), the Soviet officer who promotes his friend Vassily as Russia's much-needed hero. This romantic rivalry lends marginal interest to the central plot, but it's not enough to make this a classic war film. Instead it's a taut, well-made suspense thriller isolated within an epic battle, and although Annaud and cowriter Alain Godard (drawing from William Craig's book and David L. Robbins's novel The War of the Rats) fail to connect the parallel plots with any lasting impact, the production is never less than impressive. Highly conventional but handled with intelligence and superior craftsmanship, this is warfare as strategic entertainment, without compromising warfare as a manmade hell on Earth.

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Best War Films: 'BLACK HAWK DOWN'

 

BLACK HAWK DOWN

Ridley Scott's Black Hawk Down conveys the raw, chaotic urgency of ground-force battle in a worst-case scenario. With exacting detail, the film re-creates the American siege of the Somalian city of Mogadishu in October 1993, when a 45-minute mission turned into a 16-hour ordeal of bloody urban warfare. Helicopter-borne U.S. Rangers were assigned to capture key lieutenants of Somali warlord Muhammad Farrah Aidid, but when two Black Hawk choppers were felled by rocket-propelled grenades, the U.S. soldiers were forced to fend for themselves in the battle-torn streets of Mogadishu, attacked from all sides by armed Aidid supporters.

Based on author Mark Bowden's bestselling account of the battle, Scott's riveting, action-packed film follows a sharp ensemble cast in some of the most authentic battle sequences ever filmed. The loss of 18 soldiers turned American opinion against further involvement in Somalia, but Black Hawk Down makes it clear that the men involved were undeniably heroic.

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Best War Films: DEFIANCE

DEFIANCE

Daniel Craig (James Bond: Quantum of Solace) stars as Tuvia Bielski, an ordinary citizen turned hero, in this action-packed epic of family, honor, vengeance and salvation. Defiance is a riveting adventure that showcases the extraordinary true story of the Bielski brothers, simple farmers –outnumbered and outgunned- who turned a group of war refugees into powerful freedom fighters. Tuvia, along with his unyielding brother, Zus (Liev Schreiber, X-Men Origins: Wolverine), motivate hundreds of civilians to join their ranks against the Nazi regime. Their “Inspirational story”* is a true testament to the human spirit. - David Densby, The New Yorker

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Best War Movies: THE BOY IN THE STRIPED PYJAMAS

THE BOY IN THE STRIPED PYJAMAS

The innocence of childhood savagely collides with the Holocaust in The Boy in the Striped Pajamas. Bruno (Asa Butterfield) knows that his father is a soldier and that they have to move to a new house in the country... a house near what he thinks is a farm. But his father isn't just a soldier; he's a high-ranking officer in Hitler's elite SS troops who's just been placed in command of Auschwitz. As Bruno explores the woods around the house, he discovers the concentration camp's perimeter fence. On the other side sits a boy his own age, with whom Bruno strikes up a friendship--a friendship that will have tragic consequences.

The Boy in the Striped Pajamas is most powerful in the details: The casual brutality of a Nazi lieutenant; the uncomfortable juxtaposition of the family's domestic life with glimpses of the treatment of the imprisoned Jews; a ghastly propaganda film suggesting that life at Auschwitz was like a holiday. But more than anything else, Butterfield's performance makes this film compelling. The young actor perfectly conveys Bruno's limited perspective even as the film carefully unveils the larger, darker reality. The movie's ending will undoubtedly spark arguments, but only because of the emotional complexity of what happens--The Boy in the Striped Pajamas is made with great skill and compassion. Also featuring David Thewlis (Naked) and Vera Farmiga (The Departed) as Bruno's parents.

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Most Popular War Movies: SCHINDLER'S LIST

SCHINDLER'S LIST

Although he will forever be identified with pop culture classics such as Jaws, Close Encounters of the Third Kind, and Raiders of the Lost Ark, Steven Spielberg has never made a film greater than this searing drama about a Nazi industrialist who saved more than 1,000 Jews from certain death in concentration camps during World War II. Broadly based on the book by Australian writer Thomas Keneally, Schindler's List gets underway in 1939 after Hitler's army conquers Poland. Nazi supporter Oskar Schindler (Liam Neeson, delivering the standout performance of his career) arranges to staff a major company with unpaid Jews ultimately destined for extermination, among them accountant Itzhak Stern (Ben Kingsley), who becomes his right-hand man. The initially mercenary Schindler gradually becomes attuned to the plight of his workers and arranges to employ nearly 1,000 Jews in his crockery plant -- an effort that requires his careful handling of ghastly Commandant Amon Goeth (Ralph Fiennes), who runs the forced-labor camp housing the doomed people. 

For this film Spielberg eschews his customary storytelling techniques, using black-and-white film for a gritty look and shooting much of the footage with handheld cameras, documentary style. Period detail is replicated with astonishing accuracy, and you'll get the sense of being right there alongside the characters. 

The film is extremely long -- well over three hours -- but it unfolds with such urgency that you're never conscious of its length. Neeson is absolutely sensational as the towering industrialist whose innate humanity eventually comes to the fore, and Fiennes, then a virtual newcomer, is sublimely odious as the amoral labor-camp commander. Crafted to perfection and absolutely seamless in its presentation, Schindler's List is a truly unforgettable movie, and the crowning achievement of this generation's most successful filmmaker.

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