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However, the fact that the North Vietnamese fought with such commitment and that they were willing to sacrifice themselves in such great numbers also inspired some empathy on my part for them as well. They obviously endured tremendous hardships living for months on end in deep underground tunnels and being targeted by the most advanced and devastating weapon systems in the world by the most powerful superpower in the world. Naturally, I was horrified to see the effects of napalm on U.S. soldiers after Moore had no choice but to call in an air strike on his own position as a last-ditch effort to avoid being completely overrun by the enemy. However, at the same time, that scene also made me realize that this was only one air strike. Meanwhile, the Vietnamese forces were subjected to napalm air strikes continually for years throughout the U.S. involvement in the war...
I realized that the horror I witnessed when it affected U.S. soldiers was the very horror inflicted by U.S. air strikes on the Vietnamese.
Finally, the movie also made me realize that for every soldier killed or wounded in battle there are families left at home who must face the devastating consequences of their loss as well. While not as graphic visually, the scenes involving Lieutenant Colonel Moore's wife intercepting the death notice telegrams were as moving to me as the actual depictions of gruesome battlefield deaths. Ultimately, I learned that my sympathies are capable of being manipulated by the choice of perspective of the filmmaker. I realized that a similar movie depicting the plight of the Vietnamese fighting off one foreign occupying force after another could have resulted in my having similar sympathies toward the North Vietnamese instead of the U.S. soldiers.
References
Goldfield, D., Abbot, C., Argersinger, J., and Argersinger, P. (2005). Twentieth-Century
America: A Social and Political History. Upper Saddle River, NJ: Pearson-
Prentice Hall.
Zinn, H. (2003). Voices from a People's History of the United States. New York:
Moore responds by air-lifting his men to the valley in the first helicopter air cavalry used in the war, a creation of Moore. Before embarking, Moore delivers an impassioned speech to his men in which he references the multi-cultural heritage and composition of the Seventh Cavalry and their color-blind mutual commitment to one another. He also pledges to be the first man off the helicopter at the landing zone
Film Noir Among the various styles of producing films, it has been observed the noir style is one that has come to be recognized for its uniqueness in characterization, camera work and striking dialogue. Film Noir of the 1940s and 50s were quite well-known for their feminine characters that were the protagonists, the femme fatale. This was most common with the French, later accepted in the United States. There might have
Another Website ("Historical Inaccuracies in Film") points out the same thing, that the final battle scene with Lt. Col. Moore leading the brave charge at the North Vietnamese headquarters did not take place in reality or in the book. There was no helicopter coming to the aid of Moore's assault. In fact the 7th Air Cavalry division was given an airlift out of the area and the next day a
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the "studios"
69). For O'Brien there is no moral or rectitude in a war story because even what is good and beautiful in it comes from an obscene and evil motive. It is impossible, in a true war story, for a soldier to die declaring that he is glad to have died for his country, as does happen in We Were Soldiers. In a true war story no one is glad to die,
movies Gladiator and Braveheart both focus on the highly popular and time-honored, classic theme of humankind's unending struggle for freedom. Braveheart and Gladiator share numerous similarities, but are very different movies, in several important ways. In both movies, the average man becomes a true hero, after he is horribly wronged, and is thereafter forced to fight for freedom for both himself and others, against what seem to be almost