Hacksaw Ridge (2016)

Directed by: Mel Gibson | 138 minutes | biography, drama, history, war | Actors: Andrew Garfield, Teresa Palmer, Vince Vaughn, Sam Worthington, Hugo Weaving, Rachel Griffiths, Luke Bracey, Richard Pyros, Jacob Warner, Milo Gibson, Darcy Bryce, Roman Guerriero, James Lugton, Kasia Stelmach, Jarin Towney, Tim McGarry, Tyler Coppin, Nathaniel Buzolic

“Reb” Tevye struggles when judging suitors for his daughters in “Fiddler on the Roof” (Norman Jewison, 1971). “On the one hand he works hard, but on the other he has nothing. But on the other hand, things can only get better. On the other hand…’ Reviewing ‘Hacksaw Ridge’ is about the same. At many moments it is an exciting, inspiring film. But at the same time, different aspects of the film wrestle, often as the flip side of those same beautiful moments. Still, in the end, the balance clearly tilts to the right, partly because of Andrew Garfield’s effective acting, partly because of the incredible events in this true story, and partly because of Gibson’s skill at directing clean, gripping action sequences and arousing sympathy. and in awe of his main character.

No Orgy of Violence

We had to wait and see what Mel Gibson would come up with as director, ten years after his last feat of arms ‘Apocalypto’, twelve years after the controversial ‘The Passion of the Christ’ and of course after all his infamous public statements and clashes. Everyone was probably ready to get into their pens when he announced his new movie and not leave a speck of ‘weirdo’ Gibson. In any case, the title ‘Hacksaw Ridge’ promised little subtlety. And that is exactly what the first half of the film offers. That is to say, it turns out – at first – not to be a blunt orgy of violence, purely aimed at sensation and the ‘enjoyment’ of horrors. In other respects you can accuse these parts of chopping with the blunt axe; or sketching with rough pen strokes, if you will. But at least it’s refreshing to see that it’s not (immediately) a bloody spectacle.

Wide-eyed optimist

It is clearly Gibson’s intention in that early part of the film to arouse enough sympathy for Desmond Doss (Andrew Garfield) and, on the one hand, imbue his strong conviction with humanity and, on the other hand, let him be a shining example for us all. This works very well in itself, although it almost goes to the other side and it all becomes a bit too sweet and naive. Andrew Garfield plays Doss, largely as a wide-eyed, righteous optimist. But it’s also a bit of a simple soul who doesn’t seem to know how the world works; or love, as evidenced by his clumsy attempts at seducing a nurse (Teresa Palmer). It is that you know that the story is based on truth, otherwise you would dismiss it as a fairy tale. Because of course he knows how to conquer the heart of the nurse – in a series of sweet scenes.

Gun factor

But when – during a date – he sees a movie about the Hitler and the Nazis in the cinema, he discovers the other mission in his life: to serve in the army, to defeat the enemy and help his comrades. The only problem: his faith and conviction do not allow him to touch a (fire) weapon, which is a requirement in the army or at least the training in military service. You would think, at least. Doss’s plan is to serve as a medic so that he can save lives instead of taking a life. And in the midst of the ultra-violent ‘theatre’ called war. Then there must be something wrong with you. But Gibson and Andrew Garfield – ‘on the other hand’ – manage to get the spotlight completely on their side on that matter. No, the others are unreasonable to require him to carry a weapon and Doss should be commended for his bravery. Doss’s skill at an impromptu bandage of a leg wound after a car accident makes you believe he has it in him, and Garfield knows how to sell his conviction and perseverance well enough. Moreover, you also just want to see him succeed, as an underdog, against all odds and you grant him it because of his sympathetic nature. In short, this beginning of the film may be simple, but it works.

Of course there is an attempt to bully him away, including by drill sergeant Vince Vaughn, like any other similar character indebted (and inferior) to the famous drill scenes in ‘Full Metal Jacket’. But of course Doss remains steadfast and he is still allowed to fight in the war – enclosed in such a typical, theatrical court scene; without fighting so… You’re not making it up. And then it’s finally time for the all-important moments: the battle of ‘Hacksaw Ridge’, a nearly impregnable cliff off Okinawa. And it’s here where Gibson – whose fingers must have been itching – pulls out all the stops.

Impressive

The visuals are often impressive and the sieges exciting, such as the sight of the sheer cliff that has to be cleared with the help of a climbing net, or the intense, slow attack on a barely approachable bunker a short distance away. As a viewer you are very well made part of the experiences of the soldiers, then again lying next to them in a trench, and a little later getting a view of the larger battlefield through clear visualizations of the strategy of both sides. It is as intense as you would expect from a war film. And more.

Doubtful spectacle

And that ‘more’ is where the doubts arise again. Because, yes, war is horrific, and all kinds of things will have been seen and happened that the daylight can’t bear, but do you have to show all this too? In any case, Gibson is not shy about this. You can still give him the benefit of the doubt for quite some time; ok, you will undoubtedly stumble over skulls there, rats that eat bodies, entrails, and half soldiers that turn out to be alive. But as soon as such a presumed dead body stands up screaming like in a horror movie, the victims of a flamethrower stay in the picture for a nice long time, and someone holds a carcass of a recent victim as a shield and runs forward firing wildly, Gibson overplays his hand and for a moment it seems as if you have ended up in another movie. It is also the way in which you visualize things. You can do this frugally, but Gibson clearly prefers spectacle, which is not always the best choice in a war film.

Lump in the throat

But maybe Gibson thought this was necessary to accentuate the contrast with Doss’ righteous, non-violent attitude and the (sometimes) idyllic first part of ‘Hacksaw Ridge’. In any case, Gibson can’t hide the horror of the war too much. It should really become clear: this is hell on earth and Doss must become the glorious savior, after being tested to the very core of his being. By continuing with full conviction just after seeing this ‘horror show’, Doss shows that he is not just a hippie-like conscientious objector. No, because of this he can show his true strength. And it has to be said – again – this works. Doss turns out to be a tough guy and pulls his wounded comrades left and right out of the trenches while the bullets whistle past his ears. He goes for even the most impossible – or impossibly located – victims, seeking the danger rather than the opposite. Whoever you are, it’s almost impossible not to get a lump in the throat as you watch him rescue one soldier after another and make them – to the growing amazement of his fellow soldiers and superiors – back home camp one after the other. be run in.

Doss the savior

At the same time, you can’t help but feel that Doss—as driven by his beliefs—is not quite healthy after all. When he himself lies half-dead on the cliff and has already done an incredible feat of heroism and done much more than almost anyone else (before him), he just keeps begging God, “Give me the strength to save one more.” (A bit like Oskar Schindler at the end of ‘Schindler’s List’: ‘I could have done more…’). Totally irresponsible, you would think, and not something a ‘normal thinking’ person would do. But he is not ‘just’ a human being, Gibson seems to want to say. Gibson’s ‘reputation’ doesn’t do him any good either; you are more inclined to put religious elements under a magnifying glass and dismiss it as ordinary winning souls. But it’s hard to get around it. The first dialogue presented to the viewer in the film is about how faith in God gives you extra strength. And the way Doss is portrayed – for example as he is hoisted down on a stretcher, floating through the air – and how he is eventually worshiped by his fellow soldiers, makes him a kind of divine figure or messiah.

Inhuman humanity

The almost inhuman humanity of Doss – who even rescues wounded Japanese from his mission to alleviate the universal Suffering – also fits into this picture. Unfortunately, it does not appear that Gibson operates from the same sense of humanity. These scenes are purely about establishing the moral superiority of Desmond Doss. Because, it is repeatedly communicated: the Japanese are Satan who come to destroy ‘our’ values ​​and way of life. So the ‘killing’ of this enemy cannot really be regarded as sin by any sane person. And yet Doss shows them mercy. This is in stark contrast to some of the base actions of the Japanese, who at one point appear to surrender with a white flag and bowed heads, only to surprise the Americans with a sudden attack with stab wounds and grenades. Bunch of Judas. No, this isn’t exactly Letters from Iwo Jima.

Believe in your fellow man

It’s not all that much emphasized and usually these dissonances are not present, but moments like this do detract from the compelling, impressive and inspiring film that ‘Hacksaw Ridge’ is otherwise. Because the film does contain these qualities. Especially the goodness in the eyes and charming ‘boy next door’ qualities of Garfield’s rendition make up for a lot. His Doss is not haughty and distant but endearing and modest. And when ‘his’ men, out of respect and awe, only go up the ‘Ridge’ again when Doss is there – and also wait neatly for him to finish his prayer – you feel a vicarious pride. Doss is a hero and has (deserved) the respect! Also, not everyone here – thank God (or Gibson) – suddenly sees the light and becomes a believer. As one character in the movie says, “They don’t all believe like you, but they believe in the way you believe.” In other words: ‘They believe in you’. You can’t wish for more.