Going Back

To start off, I have to say that the European name, "Going Back" really suited this movie better than "Under Heavy Fire." I'm not much of a war movie fan, but as I'm trying to see more of Casper's stuff I took a chance.

As this is a story about the soldiers, and not the War, it was much easier for me to enjoy it. It takes place in the present day, and only shows the war when being remembered, or as footage taken on the scene. It's about a US troop during the Vietnam War who experienced a tragedy by friendly fire, and they blamed their captain (Casper). In the present day a reporter / historian wanted to help the remaining troop relive this tragedy, by revisiting Vietnam and reenacting the event to help them figure out what really happened, thus "Going Back."

Most of the present day scenes felt genuine, and the War memory scenes were used strictly to clarify or enhance emotion and not just to show the War. There was an especially touching present day scene where a Vietnamese woman Captain Ramsey went to visit sings him a BEAUTIFUL song to thank, "A soldier who has lost his way."

Certainly worth my time to see.

Since the ending of the Vietnam War, two principal styles of feature films have been produced revolving about that baleful event, one that emphasises scenes of frantic combat activity, the second stressing off-center characterization of United States military personnel, most often encumbered with tiresome politicizing anent the evil actions of corrupted American servicemen in contrast with the apparently innate dignity and humanity manifested by Vietnamese people; within this grotesquely melodramatic piece is included the worst aspects of each, with triteness lavishly added for good measure. The film opens with a military reunion organised by cinema documentarian Kathleen Martin (Carrè Otis) who has assembled six veterans from a heavily depleted U. S. Marine Echo Company, bringing about their rendezvous held in Ho Chi Minh City (Saigon) for the purpose of filming their impressions of erstwhile battlefields, and eventually to restage, if all agree, a controversial incident that had occurred during the war, later resulting in a court martial of the Company's leader, Captain Ramsey (Caspar Van Dien). The film wants narrative clarity, indeed even basic credibility, while plot execution is muddled; an altogether plodding and unpersuasive affair with wholesale utilisation of bromidic scenes, one even comprised of slow motion lovemaking by Van Dien and Otis. Stock footage of crowded streets in Ho Chi Minh City provide mild interest, while combat segments are largely effective, and editing is quite successful with flashbacks. However, the depiction of on-scene battle photography is unrealistically presented, and a droning score is of no assistance. It is best for this subject matter if it will be created by individuals who were there.

The above is what fell out of my mouth during the final 20 minutes of this film. I've never laughed so hard at bad acting, cheesy sentiment, and overwrought "drama" before seeing this farce. Utterly ludicrous dialogue permeates the film but it never seems overly unwatchable until we enter the home stretch. Until then, it is a mildly enjoyable exercise, filled with decent costumes, vehicles, and locations (including genuine Vietnam footage --- nice). I'd rented on a whim expecting nothing, so I was surprised that it at least looked accurate and wasn't boring.

However, the movie's ultimate undoing is its commitment to the most overt and silly sentimentality this side of the "tell me I'm a good man" framing sequence from SAVING PRIVATE RYAN. The filmmakers milk it for all its worth and believe me it isn't worth much. Endless 'crying' scenes in slow motion, repeated 'breaking down' scenes, slamming of fists against walls, brotherly hugs, etc, beg the question if this was not all meant as satire.

A handful of scenes work fairly well --- the battle for Hue City is harrowing and exciting, and a "tunnel rat" sequence is suspenseful even though preceeded by the silliest on-the-nose dialogue imaginable. One bit involving a spare fuel pod in a treeline is cartoonishly innovative but seems more fit to MISSING IN ACTION than a movie meant to be taken seriously.

Ultimately the movie fails as it adds nothing to the played-out genre of the 'Vietnam film.' "War is bad!" --- check. "You wouldn't understand because you weren't there!" --- check. "It was a massacre!!!" --- check. All it lacks is a gruff Air Cav officer admonishing his troops that CHARLIE DON'T SURF!!!! Then we'd have had something.

This story of US Marines going back to Vietnam is far fetched and the flashbacks may be a pastiche of events involving a number of different units. However, they catch the spirit of interaction of Marines, their noncoms and officers. Ramsey is a very believable captain, but in reality, he would have been at least a company commander and would not have been so directly involved in unit leadership. Otherwise, his and his marines' interactions were consistent with my experience.

So take the plot with a grain of salt, but watch closely the way the marines and their Navy Hospital Corpsman and Chaplain go about their business. It will give you a good understanding of how marines think and act in a combat environment.

With the gluttony of cliche Vietnam war films to have come out in the last ten years, I was skeptical at best when i heard of Under Heavy Fire. After watching this film, though, Sidney Furie has made me a believer once again. The plot puts a nice new twist on the genre, and Casper Van Dien's inspired performance truly captures what it was like to fight in the jungles of Vietnam. In the closing scene(s), director Furie and cinematographer Cutris Peterson coordinate their efforts and vividly and beautifully capture the spirit of brotherhood and camaraderie that exists between U.S. Marine Vietnam Veterans. 9.2/10