Needless to say, the country didn't stand up and thank the (mostly long-haired and disenchanted) vets for reminding them of the sinkhole of iniquity America had mired itself in overseas. The gut-wrenching, eye-opening stories delivered by hundreds of soldiers in that sterile hotel conference room were mostly ignored by the media, and would likely have sunk without a trace after being published in the Congressional Record. The testimony, however, was shot by a group called the Winterfilm Collective (including the future Academy Award-winning documentarian Barbara Kopple) and edited into a tight, 95-minute piece of scorching truth-telling that played around at some film festivals, colleges, and one small Manhattan cinema, before mostly disappearing from the scene.
It's not hard to see why, given that the film is essentially a parade of grainy, black-and-white footage of morose, shaggy-headed vets talking in confession-booth tones about laying waste to villages and butchering civilians; this is not a fun night out at the movies (but, then, neither is Shoah). In general, we as a country have preferred to have our Vietnam horror stories served up to us as part of thrilling wartime adventure tales, like Apocalypse Now and Platoon, or used as nihilistic punch lines in the morbidly inhumane Full Metal Jacket. And yet it remains well-nigh unconscionable that Winter Soldier a missive delivered straight from the frontline never become one of the standard texts on the Vietnam War and is only now getting its first proper theatrical release.
Due to the fact that John Kerry was a member of this group (he appears on screen for less than a minute, interviewing another veteran), and would testify on these same matters before the Senate Foreign Relations Committee in April of the same year, Winter Soldier has been used as something of a punching bag by elements of the right, which have disputed the veracity of some of the soldiers' claims. But it's not the substance of one or two of the stories which give the film its quite substantial power to shock, it's the numbing repetition of them, the same tropes repeated over and over in slightly varied form, all of it together painting a portrait of institutionalized brutality.
Like with the Abu Ghraib scandal, the Winter Soldier testimony showed that an indifference to Geneva Conventions regarding prisoners of war had filtered from command down to the grunts charged with handling them. Several soldiers speak with quite jarring normality about prisoners being thrown blindfolded out of helicopters, by officers no less, while slides show GIs looking on as South Vietnamese regulars torture suspected Vietcong guerrillas. Almost worse, however (and here is where, so far at least, the Vietnam-Iraq parallels seem to lessen), is the absolute disregard for civilian life. Anyone with even a little knowledge of the war knows the old joke (repeated here) about how to tell a Vietcong from a noncombatant ("Anybody running away is a VC. Anybody standing still is a well-disciplined VC."), but it's quite another thing to witness this deluge of horrors, with ordinary Vietnamese gunned down on the side of the road, from helicopters in rice paddies, in their villages, just because they happened to be in the way. Soldier after soldier talks about how routine these killings were, everything sanctioned by their officers, who at best looked the other way and at worst instigated it. "They weren't human" is the drumbeat here, the atrocities that occurred being the inevitable result of institutionalized racism combined with a war in which no ground could be gained or lost, and only the body count mattered - whether the bodies were actually combatants was an oft-ignored detail.
Decades on, Winter Soldier can seem an anachronism with its lack of framing devices and narration, the testimony just laid out there in stark relief, with the viewer mostly left to fend for themselves; a potential problem in these ahistorical times. As a film it runs into problems when trying to tie in domestic racism against Native and African-Americans to the dehumanization of the Vietnamese people - it's an important point that gets muffled, something that a clearer editorial approach could have helped. However, the sheer weight of testimony and the numbing repetition of their similar elements shows for a lie the attempts by fringe right-wing elements (mostly as part of their Swift Boat-John Kerry smear campaign) to present these soldiers' stories as fabricated or aberrations instead of the norm. You can dismiss some of what's said here as lies and exaggerations, but to deny the whole of it is to simply close one's eyes to reality.
War is hell; Winter Soldier shows that this was true of the Vietnam War, only more so.
The DVD includes copious extras, including a conversation with the filmmakers, short films from the era, still photos, and a making-of documentary.
My kingdom for a shave.
Run time: 96 mins
In Theaters: Saturday 19th June 2010
Distributed by: Milliarium Zero
Production compaines: Winterfilm Collective, Vietnam Veterans Against the War, Winterfilm Inc.
Contactmusic.com: 5 / 5
Rotten Tomatoes: 100%
IMDB: 8.2 / 10
Director: Winterfilm Collective
Producer: Winterfilm Collective
Starring: Rusty Sachs as Himself, Kenneth Campbell as Himself, Joe Bangert as Himself, Scott Shimabukuro as Himself, Scott Camil as Himself, John Kerry as Himself, Steve Pitkin as Himself, Jonathan Birch as Himself, Charles Stevens as Himself, Fred Nienke as Himself, David Bishop as Himself, Nathan Hale as Himself, Michael Hunter as Himself, Murphy Lloyd as Himself, Carl Rippberger as Himself, Evan Haney as Himself, Gordon Stewart as Himself, Curtis Windgrodsky as Himself, Gary Keyes as Himself, Allan Akers as Himself, William Hatton as Himself, Joseph Galbally as Himself, Edmund Murphy as Himself, James Duffy as Himself, Scott Moore as Himself, Mark Lenix as Himself, Thomas Heidtman as Himself, Dennis Caldwell as Himself, James Henry as Himself
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