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It’s hard for me to ignore these glaring flaws with the narrative-they didn’t sit well with me the first time I watched this, and the same is true now. There’s also little suggestion of any external influences weighing in on the course of events here-our protagonists are shaped solely by the brutality of the conflict and the psychological trauma of being tortured by their captors, and Cimino makes it very clear that it is these factors alone that are responsible for breaking their resolve yet there’s no mention at all of the political machinations that were ultimately accountable for the war’s destructive legacy.
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It’s no surprise at all that Cimino chose to focus his attentions on the plight of US soldiers-hell, I can understand the bitterness and the resentment that must have permeated American mindsets in the immediate wake of a brutal war that had not long been over, and which no one had had a chance to fully process by the time this film was made-but even so, it’s very much a narrow-minded, one-sided story that frames the Vietnamese people in a shallow and derogatory light, no matter whether they are friend or foe. It’s actually a blessing that so little of this is set in Vietnam itself, because so much of what is depicted in this context is cack-handed and problematic, mostly in relation to how the Vietnamese people themselves are portrayed-namely, either as sadistic psychopaths who like to engage in perverse blood sports, or as weakly fleshed-out bystanders in a story about the self-sacrifice of white western interlopers.