
The New Platoon?
In nineteen eighty-seven Platoon assaulted the box offices and opened the doors for follow-on successes Full Metal Jacket, Hamburger Hill and several other Vietnam movies. It was the high water mark of cinematic achievement for the Vietnam generation that they had waited for since the fall of Saigon twelve years earlier. A smattering of earlier attempts at the genre had been made, the most notable of which was Purple Hearts that featured a scorching hot young Cheryl Ladd, but none were very good. Platoon burst the dam and the next year Dana Delaney’s China Beach was one of the top rated TV series along with Tour of Duty.
“Jesus,” I said when my father and I saw the first preview of Tour of Duty. “When are we going to get something else besides Vietnam shows?” I could feel my two-combat-tour father tense up and the insects in the room suddenly run away like they do before a hurricane.
“The only thing better than a gunsmoke and horseshit spaghetti western is a Vietnam flick. It’s about time we fucking paid some attention to it. What the hell do you want? Cops and doctors?”
Now twenty-two years later his sage quip is coming true. There’s not one TV drama about the war in Iraq or Afghanistan. The insanely stupid Over There about a unit of the Third Infantry Division (Rock of the Marne!) was too wildly out of context for anyone to believe and therefore short lived. Army Wives currently airs on the Lifetime Channel, which my Army scoffs at as the ruminations of some serious ass clownery. It’s lame.
Instead we have an endless barrage of police procedural dramas, confusing courtroom capers, and depressing medical mysteries. There are currently four separate Law and Order series, three CSI’s, two NCIS’s, JAG, Bones, House, Dexter, The Mentalist, and all the soul-crushingly sad hospital dramas that always end up with my wife sobbing uncontrollably long before Grey’s Anatomy ends.
It’s not completely surprising. Hollywood has a history of lamenting combat and painting it in the most depressing light possible because the overwhelming majority of entertainers are liberals and pacifists. It’s de rigeur to demonize the military or make us look like exploited simpletons, ut it’s completely taboo to ground a show in a purely military theme with even the hint of a positive message. Instead we get David Carusso, Hugh Laurie, and Mark Harmon plodding their way through another gruesome murder.
When will it change? When will we have our Platoon? Ten more years. At least that’s the current line on the big screen. You see I’ve got a little inside info on this topic. When I’m not ranting on the Rhino Den, writing for Fight magazine, or penning books, I write screenplays and have had a couple of agents represent me. Their advice-“your script about your buddies in Iraq is moving and poignant, but no one will touch it until 2020.”
Just like Vietnam, which had to wait twelve years for true Hollywood recognition, Iraq and Afghanistan will be shelved by the people who don’t have the intestinal fortitude to develop an uplifting or remotely positive TV show or movie based on our brave troops for many years. Hollywood has chosen the historically liberal strategy of becoming ostriches – shoving their heads in the sand and ignoring the issue like it doesn’t exist.
It’s therefore somewhat gratifying (for us conservatives at least) that every movie about the war that cast the cause as evil and the troops as victims, has bombed. Stop Loss, Redacted, Grace is Gone, Lions for Lambs, and A Mighty Heart completely tanked. Despite being written by Academy Award winner Paul Haggis, In the Valley of Elah sucked ass at the box office.
While we wait for big screen success, the independent screen is doing the profession of arms justice. Many shoestring budget films are being made and showcased at the GI Film Festival in Washington DC every May. These brave filmmakers have artistic freedom because there’s no big studio looking over their shoulders, so their work is many times heartrendering and even uplifting. A good example is The Hurt Locker, a movie about an EOD Sergeant in Iraq that is both moving and realistic. But it’s not the equivalent of Platoon, which paved the way for Coming Home, Full Metal Jacket, Hamburger Hill, Good Morning Vietnam, and Brian De Palma’s Casualties of War. It could be this generation’s Purple Hearts, which preceded Platoon by two years, but probably not.
When the big studios finally pay attention to the war and make quality films, I’ll be standing there with my scripts in hand. And my son, who will be eighteen at the time, will lament the flood of GWOT movies out loud. I can’t wait.


















