Hamburger Hill (1987) Reviews

• Realism and Radicalism

  artzau2001-04-23

  This is an excellent depiction of the insanity that was the war in Viet Nam. My view as a naval officer during a scenic tour of the Mekong near the Cambodian border and the Vietnamese city of Chau Phu, permitted me to be a witness to many, many occasions involving the wholesale abuse of humans by humans. The strain on mind, body and soul takes years (if ever) to repair and this film captures it. There are brief glimpses of this agony in some of the other films mentioned here in the reviews, e.g., Apocalypse Now, Full Metal Jacket and Platoon. Each of these films have merit but are deeply flawed. Apocalypse Now is steeped in moral allegory to the expense of an accurate portrayal of the war; Full Metal Jacket is only 2/3 completed; Platoon becomes a Levi-Straussian moral tale with an arch villain and virtuous hero-- the latter heinously slain by the former with revenge exacted by the weary sojourner on the odyssey. OK. What do we have here with Hamburger Hill? A story? Heroic acts? Action? Not really. What we have is the horror and insanity of war. The film ends on the same pointless note as it began. But, you know what? Reading through the detractors of this film who touted the other potential three and slammed this one, I would not hesitate to bet they were never there. I could glance at the reviews and pick out the vets-- not just on the basis of whether they liked this film or not but of how they reacted to it. I know and know damn well. I too was there, brothers. See this film. It's well produced, directed and the cast is damn good. Check it out.

• I was there. This film gets it right.

  SquirePM1999-07-24

  I was an infantryman in the field in Vietnam. There are only 2 Vietnam movies that are even close to real - this one and Apocalypse Now, and they are both as close as a movie can get. Hamburger Hill gets it right in many ways, the banter among the grunts, the fatalism mixed with the desire to survive a vicious war, the emotional stress of seeing your fellow GI's become casualties. The GI jargon used in the writing is the most authentic in any movie about that war. But most of all it depicts the incredible, to me mystical, bravery which drives any man into terrible battle in any war, on any side. This movie is an unpretentious marvel. As for Apocalypse Now, it gets it right in a very different way. Everything in that movie actually happened in Vietnam, crazy as each scene may be to one who wasn't there. Take it scene by scene. Believe everything you see. (Except, of course, the whole Col. Kurtz - private army - assassination theme, which was out of the book about war in South Africa. It made a great hook for this movie, but no U. S. Army senior officer ever went off the deep end like that.)

• Realistic depiction at its artistic limit

  jackmoss882008-01-16

  Hamburger Hill is all too often compared cruelly (and unfairly) to Oliver Stone's Platoon, a film that predates it by a single year and marked a return to Vietnam by American cinema, almost a decade after Cimino and Coppolla set the bar for celluloid commentary on the conflict. In following Platoon's realistic approach as opposed to the stylised, more artistic nature of these earlier films, as well as Kubrick's Full Metal Jacket (another film Hamburger Hill was forced to compete with), John Irvin's film was seen as an inferior copy and is not remembered alongside these aforementioned films as a definitive Vietnam War film. In truth, Hamburger Hill deserves to stand apart from Platoon as having its own approach and method. Hamburger Hill outstrips any other Vietnam War film in its pursuit of realism, going beyond Stone's fictionalised characters with their spiritual and ideological battles. It tells the true story of the bloody assault on Hill 937, from the perspective of a platoon of mostly new recruits (FNGs or F**king New Guys) lead by a core of experienced troops, headed by Dylan McDermott as the weary but passionate Sergeant Frantz. Irvin spends plenty of time letting us be introduced to the characters, their quirks, their cliques and their internal feuds before letting them see meaningful combat. As the film progresses, so does their relationship to each other and to the war they're fighting. Hamburger Hill's god is resolutely in the details, and it in these details that most of the film's best moments lie. The little scenes, lines and moments have the air of true anecdotes: often brief, insignificant moments in the larger picture yet they stick in the mind and add up to create a collage of impression. Hamburger Hill is probably the most realistic Vietnam film yet made, and the wealth of details give a sense that this film is the closest we've seen to actually being a soldier in Vietnam. There's none of the involved psychological exploration of a single character like Apocalypse Now, none of Full Metal Jacket's black humour and archly artificial dialogue and none of Platoon's symbolic drama. The most important and impacting moments are always those of the actual conflict: from the headless corpse to the half-filled canteen to the agonising friendly fire scene. Hamburger Hill is primarily a combat picture, concerned with the ugly vicissitudes of the battlefield and its impact on the people involved, and Irvin captures both the drama and the horror of combat effectively. The combat sequences are never short of either excitement, pathos or intensity. Off the battlefield, the film doesn't have the philosophical meditation that gives Apocalypse Now its enduring resonance, but it is not completely without things to say. The film is utterly anti-war but at the same time pro-soldier: it celebrates the men who fought through the horrific conditions, showing us what they had to deal with, from the anti-war protesters at home who convince a soldier's girlfriend to stop writing to him because it is "immoral" to the faceless Blackjack who conducts the bloodshed from afar and through the simple physical conditions they endured. Irvin's message is that whatever your stance on the conflict, the men there deserve respect, particularly because almost none of them are there to consciously represent any moral or political position. Hamburger Hill's utilitarian design may prevent it from really being a cinematic classic, but the only chief complaint is that it is dramatically unsatisfying on occasions. The climax, in particular, does not feel suitably impacting compared to the violence that preceded it, and the film simply slows down to an end without any significant flourish. This, ultimately, is a product of its realism: the battle of Hamburger Hill did not have satisfying dramatic structure because it was a real event and Irvin deliberately maintains this reality right to the very end, an admirable gesture. Unfortunately, the director's fulfilment of his own artistic manifesto comes at the sacrifice of audience satisfaction: Hamburger Hill is ultimately too realistic to reach the pinnacle of artistic accomplishment.

• One of the best about Vietnam

  DumaNV1999-09-22

  Drawing from a good book by the same name concerning a real battle, the film chose to concentrate on a single unit of the 101st Airborne during this engagement instead of the strategies and tactics of the battle. Fictionalizing the characters we see the typical group of soldiers, some new, some veterans, some black, some white, some Hispanic, conduct assault after assault on a hill for some reason that they only have a vague concept of. But instead of making the battle slick and interlaced with subplots about the possession of souls (such as "Platoon") or a work of art (such as "Apocalypse Now" or "Full Metal Jacket") the characters are real and the battle is believable. Whether intentional or not, it is hard to identify individuals in this film. The viewer is aware that there are ethnic and class separations but identities are harder. I believe that this was intentional to some extent by the director so that the impression could be made that this could be any unit and the soldiers could be anyone that you may know. Like the faceless names on the Vietnam War monument during the opening of the film, these soldiers are essentially faceless forcing the viewer to place a face and personality that they are intimate with. The real star of the movie is the battle and the tragedies that resulted. As with the better, and more accurate war films, there are no heroics, just fear; there is no glorious flag waving over a captured fortification, just survivors. Again, with the better war films it is the little stuff that separates the good ones from the "cowboys and Indians in battle dress" ilk: the radio operator calling in an artillery strike in panic and is reprimanded for not using proper radio protocol, the mud slide down the hill right in the middle of the battle, the officer trying to call for reinforcements and realizing that his radio was blown to bits along with his arm. All of these "touches" are real and give credibility to a film. In this case "Hamburger Hill" stands apart, and somewhat higher, than most films about the subject.

• Destruction of men in their prime.

  BA_Harrison2017-05-31

  In the mid-to-late '80s, America finally came to terms with the Vietnam War, exorcising their demons via popular culture. On TV, we had Vietnam veterans The A-Team coming to the rescue of the needy. On the radio, Paul Hardcastle told us that the average age was 'n-n-n-n-nineteen', while Stan Ridgeway recounted the story of an awfully big marine. In the cinemas, Chuck Norris was Missing In Action, Rambo asked 'Do we get to win this time?', Tom Cruise was Born on the Fourth of July, Robin Williams was screeching 'Good Morning', Michael J. Fox suffered the Casualties of War, and Kubrick's jacket was of the full metal variety. Oliver Stone's Vietnam film Platoon even cleaned up at the Oscars, winning four awards, including Best Picture. It's understandable that Hamburger Hill, with its cast of relative unknowns and second-tier director, didn't receive quite as much attention as the aforementioned heavy-hitters, but if you're serious about war movies, don't let the lack of any big names put you off: the film is just as worthy of praise as Platoon, if not more-so, the green cast only adding to the film's already palpable authenticity. Shot in the thick jungles and even thicker mud of the Phillipines, the film tells of one of the most costly battles of the Vietnam War, the fight for Hill 937 in the Ashau Valley, known to grunts as Hamburger Hill. Director John Irvin's aim is to capture the horrors of war in all their bloody detail, and the sense of realism he achieves is remarkable: when his characters die, they don't throw their arms up in slow motion to the strains of Adagio for Strings… they do so in a sudden welter of gore, hammering home the notion that war is hell. By the end of Hamburger Hill, the viewer is left as emotionally drained as its surviving characters are physically exhausted.