The Vietnam War is widely regarded as the biggest failure in American foreign policy, as its loss of support was witnessed by the American public through nightly television broadcasts. This war, which lasted longer than any other in American history, created a greater division among Americans than any event since the Civil War. After suffering substantial psychological harm, it became clear that the nation was eager to move on from the Vietnam story once it ended. However, there remained a necessity to narrate this tale, and Hollywood assumed that duty.
Considered one of the most captivating Vietnam films, Oliver Stone’s Platoon (1986) depicts the filmmaker’s personal war encounter. Unlike other movies about the Vietnam War, Platoon presents a intricate story with multifaceted characters and an unforeseeable plot. By means of its inventive narrative, powerful visuals, and examination of human nature, this film offers a horrific glimpse into the harsh realities of the war in Vietnam. Additionally, Platoon provides historical context to understand the background of this conflict.
During the late 1960’s, as the American involvement in Vietnam continued and casualties increased, morale declined in various sectors of the U.S. military. Internal tensions, the harsh and frightening conditions, drug abuse, lack of willingness to fight, and the belief that the war had no purpose affected many units. Additionally, there was undeniable evidence of American soldiers committing atrocities on the battlefield, particularly after the Mai Lai massacre. Furthermore, an even more distressing and demoralizing practice known as fragging added to the despair.
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Fragging, a term in military slang, pertains to the deliberate killing or injury of a soldier or officer. The seriousness and frequency of these incidents remain debated, yet it became a worrisome issue during the later years of American participation in Vietnam. Platoon skillfully and unsettlingly explores these experiences, focusing on the internal deterioration of a specific unit as seen through the eyes of Chris Taylor (portrayed by Charlie Sheen), a young and inexperienced soldier who represents director Oliver Stone’s perspective.
During Stone’s tour in Vietnam, he quickly discovered that platoons suffered from factionalism and disunity. The movie also introduces two important characters, namely Sergeant Barnes portrayed by Tom Berenger and Sergeant Elias played by William Dafoe. Barnes was the sinister sergeant whose scarred face symbolized someone who had endured and survived, an expert soldier, but with a shattered soul. His reputation for toughness within the platoon was legendary, especially after returning from reenlistment due to a facial gunshot wound.
Barnes and Elias represent contrasting figures within the platoon. Barnes appeals to the poor white Budweiser drinking redneck troops, while Elias embodies a 23-year-old, Jim Morrison-like character. The followers of each sergeant further highlight the division within the platoon, with Elias attracting dopers, stoned whites, ex-hippie draftees, and blacks. Throughout the movie, this allegiance to different leaders leads to a loss of unity among the troops. In a dramatic display, the two sergeants serve as metaphors for the inherent duality in every person: goodness and evil, animalistic instincts and humanity.
Stone effectively depicts a jungle filled with traps, dangerous insects, and an elusive enemy. Moreover, the portrayal of unrelenting violence on screen cannot be ignored. This violence not only affects the physical body but also the mind, inducing anxiety, fear, and an overall feeling of despair within the platoon. Consequently, the platoon becomes utterly terrorized by senseless death, infighting, and violence, eventually breaking down when one of their own soldiers, Manny, is discovered dead with his throat slit and tied up. As a result, the men decide to seek revenge on a small village that potentially harbors weapon caches and Viet Cong troops.
This paragraph establishes a crucial scene and pivotal moment in the film. Oliver Stone skillfully guides the audience through the harrowing effects of war and the profound impact it can have on individuals under immense pressure. During the village assault, Chris Taylor briefly joins in the horrifying act of terrorizing an individual but abruptly stops and walks away. Subsequently, Bunny (Kevin Dillon) brutally attacks the defenseless and clearly mentally disabled man using the rifle’s butt, resulting in blood and brain matter splattering on both Bunny’s and Taylor’s faces.
Upon boasting that he had never seen a head fall apart like that before, Bunny unremorsefully reveals his sadistic nature. Following the brutal beating, the group assembles around Barnes who is interrogating a Vietnamese man. The questions revolve around the location of weapons, food, and VC troop movements. In a heart-wrenching moment, Barnes disregards the pleas of the man’s wife and ruthlessly shoots her in the head. The horrifying scene unfolds before the eyes of the villagers, husband, and daughter. With the lifeless body on the ground, Barnes seizes the young girl and threatens to kill her unless her father cooperates and discloses the hiding place of weapons and other VC fighters.
Elias is horrified by the violence and intervenes by calling Barnes out, preventing the impending murder of the girl. This results in a fight between Barnes and Elias, with a fraction of the men supporting Barnes and the other fraction supporting Elias. Eventually, the fight is stopped and the Platoon is ordered to “torch” the village, which includes raping innocent young girls for some soldiers. As a consequence, Barnes’ authority is now questioned and a civil war breaks out within the platoon.
Although Platoon does not solely revolve around American massacres, the scene directed by Stone can be interpreted as reminiscent of what occurred at Mai Lai village in 1968. These acts of violence greatly influenced the nation’s collective consciousness and played a part in intensifying the ongoing war debate, prompting a reassessment of both the conflict itself and America as a whole. According to Richard Slotkin, author of Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America, these incidents also added to these discussions.
One event that had a significant impact on the ideological and political discourse surrounding the war was the revelation of the massacre at Mai Lai. This event served as validation for the idea that American society was influenced by a “madness” which may have stemmed from inherent aspects of the national character. It is important to note that Mai Lai took place during a period marked by intense violence in America’s history, including assassinations of Martin Luther King and Robert Kennedy, violent confrontations at the Democratic Party Convention in Chicago, the Manson Murders, and increasing casualties in Vietnam.
Consequently, the news of the massacre further reinforced the belief that some Americans were trapped in an irrational surge of violence. This cast doubt on the inherent goodness of the American character. Additionally, as the war became progressively controlled by bureaucrats stationed at home, the reality on the battlefield could be vastly different. While several battalions displayed efficient fighting skills, others were plagued by internal conflicts. Therefore, the violence extended beyond the VC army and Vietnamese civilians, as factions emerged between officers and soldiers, a phenomenon that was not uncommon.
The film Platoon effectively portrays the internal battles that soldiers faced during the war. Inept sergeants, racial tensions, conflicting ideologies on winning the war, low morale, disillusionment with the soldiers and country, quest for power, the desire to protect and guide fellow soldiers, and fragging – the act of killing or injuring one’s own – are all prevalent themes in the movie.
Stone introduces us to the haunting realm of fragging right after the confrontation with Elias. Amidst a Vietnamese trap, Barnes finally seizes the opportunity to retaliate against Elias. In a solitary encounter in the jungle, Barnes shoots Elias three times. Meanwhile, Taylor ventures back into the jungle in search of Elias, only to come across Barnes who claims Elias is deceased and commands Taylor to return to the chopper. While en route to base camp in the rescue helicopter, the platoon witnesses Elias emerge from the jungle with his arms raised, only to be gunned down by the Viet Cong pursuers.
After Elias is killed, Taylor tries to persuade everyone that Barnes is the one responsible. While Barnes is intoxicated and overhearing Taylor’s statement, he verbally attacks him, prompting Taylor to retaliate. In the midst of their conflict, Barnes assumes control and threatens to murder Taylor, but another soldier reminds Barnes of the repercussions. Later that night, the Viet Cong invade the camp and an airstrike is requested. Barnes, still seeking vengeance against Chris Taylor, tries to kill him, but is rendered unconscious by the explosion.
The next morning, Taylor, who was alive but injured from the explosion, wakes up and finds an enemy AK. He uses it to kill Barnes, who was also wounded. Afterward, a tearful Taylor is taken to a helicopter to be sent back home, reflecting on his traumatic experience. The debate about the severity and actual amount of fragging incidents remains a heated topic. During 1967 and 1968, reports of bounties on officers were increasingly circulating. By 1969, the U. S. Army acknowledged being aware of at least 200 fragging incidents.
To a large number of soldiers, fragging was perceived as a means of self-preservation due to the inexperience of officers who possessed the authority to make decisions that endangered their lives. It served as a way to eliminate perceived threats, resulting in a breakdown of discipline and consequently hindering the effectiveness of the military in various instances. In summary, Stone’s portrayal of battle is commendable as it effectively depicts the intense nature of warfare, but more notably, he sheds light on the internal conflicts faced by many American soldiers in Vietnam.
This is best summed up by Taylor’s quote at the end of the film; “I think now, looking back, we did not fight the enemy, we fought ourselves, and the enemy was in us…. The war is over for me now, but it will always be there the rest of my days- as I am sure Elias will be fighting with Barnes for…. possession of my soul.” While Platoon is open for harsher assessment of elements of controversy, including racial elements, alleged drug use among soldiers, low morale, and the killing of civilians and fellow soldiers.
However, despite its faults, Platoon effectively depicts the physical and moral difficulties faced by American soldiers in Vietnam. Additionally, the film undeniably evokes strong emotions in the viewer, such as danger, anger, fear, and sadness. From a historical perspective, the movie successfully recreates the hellish atmosphere of war and aims to deter us from ever experiencing such horrors.
