It's strange how Hollywood still feels the constant need to pursue its glorification of the military when every other nation's film industry has pretty much moved on from the war film genre. Of course, America is a nation that has been engaged in more conflicts than most other nations in the past half-century and, while that isn't intended as a criticism, it does perhaps provide the key to America's seemingly endless fascination with the arena of war in all its guises.
Coppola's return to the theme of the Vietnam war is as different from its predecessor as any two films with the same backdrop can be. The story of Gardens of Stone takes place in America, amongst the soldiers detailed to bury the bodies that are shipped back to Arlington National Cemetery from the scene of the conflict with monotonous and terrifying regularity. It is a relatively meditative and introspective study, weakened by a thinly drawn pivotal character (Jackie Willow, played by D. B. Sweeney) who is incredibly one-dimensional for a film that is attempting to offer an insight into the mentality of the soldier away from the battlefield at a time of war. James Caan, in his first movie role for five years, makes good use of a much stronger role as Sgt. Clell Hazard, the experienced soldier frustrated by the impotence of his position, who believes he should be fighting in the field or at least training youngsters on how to stay alive out there instead of burying them when they come back. Both he and James Earl Jones in another good part, display a healthily jaundiced view of the war. Angelica Huston also has an important (if slightly ineffectual) role as the individual caught in the middle who opposes the war but understands Hazard's reasons for wanting to fight. Jordan Cronenweth's camera-work is worthy of praise here, softening Huston's angular features and making it possible for her to convincingly play a gentler and softer character than she normally does. All other characters are strictly genre stereotypes.
Unfortunately, any good work by the principle members of the cast is spoiled by a weak and unconvincing storyline that fails to involve the viewer the 'tragic' ending is particularly unmoving, although it may have a greater impact on American audiences whose families were more closely involved with the conflict. At a time when Vietnam films were all the rage, Coppola is to be applauded for choosing a different but no less relevant perspective, but any message he may have wished to deliver is hopelessly weakened by a mediocre script and uninvolving storyline.
Coppola's return to the theme of the Vietnam war is as different from its predecessor as any two films with the same backdrop can be. The story of Gardens of Stone takes place in America, amongst the soldiers detailed to bury the bodies that are shipped back to Arlington National Cemetery from the scene of the conflict with monotonous and terrifying regularity. It is a relatively meditative and introspective study, weakened by a thinly drawn pivotal character (Jackie Willow, played by D. B. Sweeney) who is incredibly one-dimensional for a film that is attempting to offer an insight into the mentality of the soldier away from the battlefield at a time of war. James Caan, in his first movie role for five years, makes good use of a much stronger role as Sgt. Clell Hazard, the experienced soldier frustrated by the impotence of his position, who believes he should be fighting in the field or at least training youngsters on how to stay alive out there instead of burying them when they come back. Both he and James Earl Jones in another good part, display a healthily jaundiced view of the war. Angelica Huston also has an important (if slightly ineffectual) role as the individual caught in the middle who opposes the war but understands Hazard's reasons for wanting to fight. Jordan Cronenweth's camera-work is worthy of praise here, softening Huston's angular features and making it possible for her to convincingly play a gentler and softer character than she normally does. All other characters are strictly genre stereotypes.
Unfortunately, any good work by the principle members of the cast is spoiled by a weak and unconvincing storyline that fails to involve the viewer the 'tragic' ending is particularly unmoving, although it may have a greater impact on American audiences whose families were more closely involved with the conflict. At a time when Vietnam films were all the rage, Coppola is to be applauded for choosing a different but no less relevant perspective, but any message he may have wished to deliver is hopelessly weakened by a mediocre script and uninvolving storyline.