| | | | Platoon
(1986) |
n 1967, Oliver Stone left Oakland, CA for Vietnam. As the air miles elapsed he would lose a day, his 21st birthday.
Specifically requesting infantry duty in Vietnam, the transformation from young writer and poet to a solider and man would soon be complete. Stone's "tour" led him to a state of mind which would be seen in the man's films that followed. In particular, his personal story (Stone both wrote and directed) would become 'Platoon', a lean and raw masterpiece that created platforms for it's actors and propelled Stone into an assured film maker.
We begin as a young soldier Chris Taylor (Sheen) is 'delivered' birth-like into the harsh glare of Vietnam. The body bags he sees as he steps off a transport plane are the dead soldiers he has come to replace, their courage re-born into him as he takes their role in combat. The character is seen as a privileged one, who wants to learn from societies outcasts, those sent to war representatives of a country who has and will reject them.These individuals surround Taylor as he speaks to us via a voice-overs (letters home to Grandma).
Like Stone, the war would be his own metamorphosis and an unlikely passage to manhood. We soon learn of the dividing factors arising within the unit, the men separated by two main characters who have contrasting philosophies on the essence of war and the predicament they have been plunged into. Sgt. Barnes (immortalised by Tom Berenger) is a gung-ho tactician, he gains respect from his men via intimidation and remorseless actions, a man embraced the inhumanities of war and sees them as the way forward and ultimately the way out.
[*** Spoilers below, only read more if you have already seen the movie! ***]
Willem Dafoe is Sgt. Elias, he takes Taylor under his wing, and preaches his own way forward... a Shamantic icon to his followers who see him as their salvation through compassion, and inter-racial harmony.
Taylor is introduced to the 'heads', the pot smoking clan of GIs whose minds one sedated by the drug-induced gatherings that occur in their bunker. The platoon are concerned with the vanishing of a soldier whilst out on patrol, when he is found staring lifeless and strung up by the enemy, Barnes fury comes to the fore when they discover a village he believes could harbour a NVA stronghold.
Stone handles these emotional scenes with an undeniable eye for realism tinged with human nature. Elias thwarts Barnes insane attempt at wiping out the villagers, including women and children, and when commanding officers learn of the incident a court marshall seems imminent for those responsible. An oncoming ambush creates panic amongst the group and with warring factions present we approach a section of the film that's almost Shakespearean in it's set up.
Barnes senses his chance to kill Elias when the two are alone in the jungle, their eyes meet with Sgt. smiling as he puts bullets in the Shamans chest. He tells Taylor and the others of Elias fate at the hands of NVA and when an airlift rescues the remaining men, Taylor's fears reconfirmed as below the figure of Dafoe is seen fleeing hordes of enemy, finally being gunned down amongst a hail of bullets whilst delivering the Christ-like pose in death that is familiar to us via the poster art.
In the bunker, the 'heads' discuss events and Taylor, although, vengeful is loathe to confront Barnes who listens in the shadows with the others unaware of his presence. He appears and confesses his guilt branding Elias as a crusader he offers them all the chance for retribution, they decline his offer but Taylor reacts and is almost killed by the Sgt., who promptly slices his face as a warning.
The film moves on with various characters portrayed to the viewer caught up in their own private struggles, some are given a ticket out of combat, like King who's friendship with Taylor is instrumental in the young GIs philosophy and survival, and others like Bunny (Dillon) who has accepted his predicament and has grown to enjoy the horrors of combat, a perfect portrayal of the consequences of war and the insanity's that can infest the human mind during life or death ultimatums.
The finale has the platoon surrounded by enemy in numbers, their situation becomes increasingly dangerous with a stronghold of NVA seeming to have the edge forcing the men like John C McGinley to take evasive and cowardly actions, the pathetic soldier hiding beneath a dead body praying for the battle to end. Amid chaotic scenes of disorganization we see Taylor frantic with fear yet functioning through adrenaline he takes out many enemy unaware that his end could come from one of his own.
A battle scene handled with immense energy and gusto by Stone see Barnes finally getting Taylor in his sights, the Sgt. moves in on the young GI With the situation unattainable an air strike is motioned which when the explosions commence ultimately save Taylor from the spade-wielding Barnes intent on bludgeoning the soldier and thus ending any speculation over the fate of Elias. The aftermath of the napalm strike leaves area eerie in silence... the scorched figure of Taylor gets to his feet. Amongst the carnage and empty atmosphere he arms himself and scans the debris for life, he locates a writhing soldier badly wounded and blackened by the fireball explosion. The broken body of Barnes clinging to his last breath is shown as he sees Taylor and accepts his fate, urging the soldier to end his suffering. Shots ring outward into the void of silence with the transformation completed from young soldier initiated into the horrors of conflict and finally facing his own darkside and inhumanity.
Helicopters airlift the survivors... with Sheen looking out over the circles of ashen bodies... breaking down he declares "I think now looking back.. we did not fight the enemy, we fought ourselves.. and the enemy was in us" and then "The war is over for me now, but it will always be there for the rest of my days" A profound epitaph for this film and indeed a pointer to the success of the mans career who here delivered a tour de force of emotional dignity through expose' of needless brutality.
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The picture is essentially an attempt in re-creation, of the characters existed during Stone's tour of duty... himself like Taylor "the son of two fathers" "fighting for possession of his soul".
For Stone the film was a personal odyssey, he had succeeded in showing the world what the war had left with him and what it had done to the American psyche... the thought process on the Vietnam conflict was changing and 'Platoon' was instrumental in portraying the realities of conflict seen through the camera eye of the director - a man who had experienced at first hand the effects they had.
Recruiting Captain Dale Dye to get the actors into shape physically and mentally was a masterstroke, a rigorous training regime was enforced with Dye impressed by the effort and staying power of the group. 'Platoon' was a worldwide phenomenon and was seen as a document in the reality in war... the surreal aspects of earlier films like 'Apocalypse Now' (1979) seemed to pale in comparison to this 80's landmark with Stone's camera showing the impact of cruelty on the faces and souls of its perpetrators.
The film was often mis-understood as 'just' a blockbuster. The action-orientated movie-goer loved it for its unflinching approach and the anti-war left based groups accepted it as a prime example of wars callous futility, even the establishment embraced it as a fitting tribute to the fighting man with the intelligent among us content with symbolism and philosophical perspective it contained.
Just as Taylor develops into a soldier, 'Platoon' also provided a good metaphor for Stone's development into a director... the man is a true visionary, whose ideals have remained throughout his career. This is a radical and excessive filmmaker who we should all notice for his contribution to the art-form that is cinema!
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The film was nominated for numerous awards, it won Best Picture at the Academy Awards 1987 and Stone picked up Best Director not only here, but also at the Golden Globe Awards and won at the Directors Guild of America and a British Academy Award for direction. 
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John C. McGinley has had a string of versatile roles in such movies as "Any Given Sunday," "The Rock," "Set It Off," "Seven," "Office Space," "Wall Street." He can now be seen in the TV comedy hit "Scrubs" as tough Dr. Perry Cox.
Johnny Depp made a tribute to Sherilyn Fenn by writing 'Sherilyn' on his guitar. This can be seen in the dope smoking scene. -Thanks to Hanne
When Elias (Willem Dafoe) leaves after a dispute among the officers, one of them makes the comment, "Been in the bush three years and he thinks he's Jesus F***in' Christ." Two years later, Willem Dafoe played Jesus in Martin Scorcese's "Last Temptation of Christ". -Thanks to Sully
Oliver Stone served in Vietnam in Bravo Co. 3rd Battallion 22nd Infantry, 25th Infantry Division.
Adrian Cronauer can be heard saying his trademark "Good Morning, Vietnam" on a radio outside the latrine when Taylor is assigned to empty it. -Thanks to Jessica
Oliver Stone himself has a brief cameo as an officer in the bunker that is destroyed by a suicide runner.
The soldier, Francis Washington, who befriends Sheen's character is actually Corey Glover, lead singer of the rock band Living Colour! -Thanks to Corey
The film that nobody for ten years wanted to make was a testament to one man's driving force and it scooped various accolades from other film-makers including Brian De Palma and Martin Scorsese. Scorsese, the man who taught Stone at NYU said "He's got power and force, it's good to see our country can still produce directors like him... he has a unique style and a personal film-maker who is out on his own... no one else is doing the things he's doing."
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The unit that the movie is about is the 25th Infantry Division (Light) based out of Schofield Barracks, Hawaii. The patch the soldiers wear is a taro leaf with a lightning bolt superimposed on it. This is from the unit's nickname "Tropic Lightning", due to our speed in deploying to far flung places. -Thanks to Ven
With most of the characters based on reality and actual individuals, Willem Dafoe was chosen as the basis for Juan Angel Elias, a black haired White Mountain Apache* who befriended Stone. Dafoe was perfect for the man... and after seeing "To Live And Die In LA", the director thought he was right for the role with his rugged features that presented a beauty emanating through ugliness.
*We were very priviliged to have Anni Whitewolf Elias write to us herself to correct some information about her father, the real life Juan Angel Elias: "I am writing this letter to you to correct a mistake that you have on your page. Yes, it is true that my father had Black hair, green eyes and one hell of a temper to match! I take after him, as well. Please correct your facts, my father was full blooded 'White Mountain Apache'! He was not Hispanic!"
Charlie Sheen was given the role of Chris Taylor when Stone saw something of himself in the young American, the son from a middle-class background who faced his own initiation whilst they shot on location in the Philippines. The role of Chris was also offered to Charlie Sheen's brother, Emilio Estevez. -Thanks to Jessica
The role of Chris was originally offered to Kyle MacLachlan, who declined.
Actually according to E!, the role of Chris was originally offered to Keanu Reeves. As wierd as that sounds, its true. -Thanks to Nick
The leading role in Platoon was also offered to Charlie Sheen's father, Martin Sheen, but he declined it because the movie was taking too long to be filmed. -Thanks to Jan
During the filming of the scene where Elias is finally gunned down by the Viet Cong, while the rest of the platoon watches from the choppers, not a single one of the special effects gunshot/blood packs on Willem Dafoe went off. Dafoe, unaware of this fact in the heat of the moment continued to writhe and act as if being riddled with bullets. After watching the out-take, Oliver Stone was so impressed by the forcefullness of Dafoe's acting that he decided to leave the scene just as it was instead of re-shooting with any of the special effects. -Thanks to Daniel Lewis
Johnny Depp's first real work, as he sees it, came with this movie, for which he spent "two weeks in the jungle in the Philippines. Just living there - in dirt holes. Despite a much-edited part (he played the translator), Depp began to think of himself as a professional actor. He had written actress Sherilyn Fenn's first name on the side of his helmet (at the time, they were engaged). -Thanks to Jeanie &Amp; Jimmy
McGinley got his start after he was discovered by Oliver Stone's casting scout. The scout was sent to watch a production of Danny and the Deep Blue Sea, which was starring John Turturro at the time. The night they came, John Turturro had gotten a movie offer so, being his understudy, John took the stage and impressed the scouts enough for them to suggest to Oliver Stone that he had what he was looking for. Stone offered John a small role in one of the greatest war movies of all times, Platoon. The role he was offered was very small. But the actor John Spenser dropped out and John landed the fourth lead in the movie. After Platoon, he has worked with Oliver Stone four more times. -Thanks to Jeanie &Amp; Jimmy
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|  |  |  | | Platoon
Locations |
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The movie was made on location in the Philippines.
Mount Makling (near Los Banos) was used for scenes of (Several) 3rd perimeter, the woods artillery attack, triple canopy forest, the final stuff, elias and barnes, chris and barnes
Near Puerto Azul was used for (Several} 1st perimeter, cliffside, church, buddah, river, village
Near Maragadong was used for (Several) the river bed, corkey's throat, Main camp
Near Manilla was the Airforce base Camp. It was either Philippines or US military.
We shot the bunker scene over and over again all over the place. I think five of the locations had bunkers built.
[Thanks to Derek Howard who was a makeup and prosthetic special effects assistant on platoon for the excellent above info]
The airbase scenes were filed at Villamor Air Base in Manila. It is a Philippine airbase. Scenes were also filmed hear for the movie Purple Hearts.
[Thanks to Steven Hinkamp]
Can you help? Do you know any of the Philippines (or any other) filming locations used for Platoon? [Please send them in]
|  | | | | ![[16:9 -Widescreen Enhanced]](16_9.gif) | ![[5.1 CH SURROUND]](dd5.gif) | Trailer, Commentary, Featurette, Notes, OutTakes |
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| | | | Trailer, Commentary, Featurette, Notes |
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The piece of music "A Daggio For Strings" enhanced the strange elegiac beauty of some of the images, it perfectly captured the graceful tragedies of this particular conflict, the scars it had left on the director and spirit of his homeland. Selected trax from the era are also aired accordingly, the Motown jams that ring out in the bunker chilling out to 'Tracks Of My Tears' by Smokey Robinson and the seminal 'White Rabbit', Jefferson Airplanes anthem for the drug fuelled hippie culture that offered solace to the LSD peaked minds of society confused yet thriving in the late sixties and early seventies.
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