Title: WELCOME HOME SOLDIER BOYS
Year of Release: 1971
Director: Richard Compton
Genre: Drama, Psychological Suspense
Synopsis: Four veterans just returned from Vietnam take a cross country journey across an unsympathetic and corrupt America, ending in an explosion of emotions.
Within a film history context: There were a number of films released in the 1970s, including WELCOME HOME SOLDIER BOYS, which dealt with the difficulties Vietnam veterans faced on their return home, and overall sense of displacement and disillusionment. Films such as TO KILL A CLOWN (1972), TRACKS (1976), COMING HOME (1978) and THE DEER HUNTER (1978) dealt with the theme in different but equally eye-opening ways. WELCOME HOME SOLDIER BOYS was one of the first to deal with the issue of Vietnam veterans in such an honest, unsparing manner.
Within a film history context: There were a number of films released in the 1970s, including WELCOME HOME SOLDIER BOYS, which dealt with the difficulties Vietnam veterans faced on their return home, and overall sense of displacement and disillusionment. Films such as TO KILL A CLOWN (1972), TRACKS (1976), COMING HOME (1978) and THE DEER HUNTER (1978) dealt with the theme in different but equally eye-opening ways. WELCOME HOME SOLDIER BOYS was one of the first to deal with the issue of Vietnam veterans in such an honest, unsparing manner.
Overview: Richard Compton directed seven features in his career, beginning with THE GUN RUNNER (1969), originally rated X in 1969, and, most notably, action drama MACON COUNTY LINE (1974) and its sequel RETURN TO MACON COUNTY (1975). Over the course of his career director Richard Compton dealt with people caught in extreme situations, and how this could lead to explosive reactions from his protagonists. His films could be characterized as drive-in fare with exploitation elements, but WELCOME HOME SOLDIER BOYS, his third motion picture, was by far the best of his cinematic oeuvre. An incisive examination of discrimination, alienation, and the effects of war on its four central characters, WELCOME HOME SOLDIER BOYS is a carefully structured narrative that builds slowly but gradually over the course of its running time. The events depicted may seen slight when taken into account individually, but add up when the film is reflected upon in retrospect.
Scenes such as Danny coming home to his parents and checking out his bedroom, the basketball game where he receives a frosty reception, and others such as Danny's talk with a prostitute give depth and credence to the narrative. There is also the subtle theme of outsiders living on the fringes of society who find solace with each other as hardly anyone else can understand them. The four soldier boys become a 'family' of sorts, supporting each other when others fail to come to the plate to assist them. They remain a close unit despite many hardships, and stay together to the end, a touching but also tragic scene.
There has been much discussion about the violence in the last few minutes of the film, and I will offer my thoughts on this. The violent content is more artistic and restrained compared to other films dealing with outpourings of emotion, eschewing gore and other unnecessary elements by keeping these to a minimum. WELCOME HOME SOLDIER BOYS' distance from cheap exploitation elements, thereby exploring the realm of human emotions in a heightened manner projects the film into a more symbolic, thoughtful sphere than its counterparts.
Scenes such as Danny coming home to his parents and checking out his bedroom, the basketball game where he receives a frosty reception, and others such as Danny's talk with a prostitute give depth and credence to the narrative. There is also the subtle theme of outsiders living on the fringes of society who find solace with each other as hardly anyone else can understand them. The four soldier boys become a 'family' of sorts, supporting each other when others fail to come to the plate to assist them. They remain a close unit despite many hardships, and stay together to the end, a touching but also tragic scene.
There has been much discussion about the violence in the last few minutes of the film, and I will offer my thoughts on this. The violent content is more artistic and restrained compared to other films dealing with outpourings of emotion, eschewing gore and other unnecessary elements by keeping these to a minimum. WELCOME HOME SOLDIER BOYS' distance from cheap exploitation elements, thereby exploring the realm of human emotions in a heightened manner projects the film into a more symbolic, thoughtful sphere than its counterparts.
Acting: All of the acting is naturalistic with the film's performers in great form. The four soldier boys headed by Joe Don Baker as Danny, with Paul Koslo as Shooter, Elliott Street as Fatback, and Alan Vint as Kid, the youngest of the foursome, do an admirable job, with the actors distinctive in their portrayals. Danny is the leader, and the eldest of them, Shooter is the strong laconic type, more comfortable silent than speaking. The third member, Fatback, is the most gregarious, humorous of the team, while Kid is the good-looking member who holds faith dear to him more than the other three. Apart from the central foursome Florence MacMichael is thoroughly effective in a small role as Danny's mother, while Francine York has a few good moments as a prostitute Danny meets at the sleazy motel.
Soundtrack: The soundtrack in this film is very spare, largely sprinkled with several songs by country music singer Ronee Blakely at key moments in the narrative. The lack of music in this film serves a definite purpose as scenes largely stand on their own for their emotional power without the necessity for background music.
Mise-en-scene: The cinematography highlights the many places which the soldier boys encounter on their journey, the countryside depicted in an expansive, rugged, but sometimes desolate manner. It serves as a metaphor for their experiences during the course of the movie, some beautiful, others terrible, with others simply horrendous. Sets such as the pool hall where the soldier boys are targeted by some Korean War veterans, the motel, the Foley family home, and the basketball auditorium, all work in a functional and intrinsic manner, complementing the narrative world, and giving dimension to the characters, and the world they inhabit.
Award-worthy performances in my opinion: Joe Don Baker, Paul Koslo, Elliott Street, Alan Vint, Florence MacMichael.
Award-worthy performances in my opinion: Joe Don Baker, Paul Koslo, Elliott Street, Alan Vint, Florence MacMichael.
Suitability for young viewers: No. Infrequent coarse language, brief male and female nudity, adult themes, medium-level violence.
Overall Grade: A
Link: IMDB Page
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