UK Rating: 15
Release Date: 26th January 2017
Running Time: 139 minutes
Director: Mel Gibson
Genre: War, Action, Biography, Period
Starring: Andrew Garfield, Sam Worthington, Luke Bracey, Teresa Palmer, Hugo Weaving, Rachel Griffiths, Vince Vaughn
SYNOPSIS: Mel Gibson directs Andrew Garfield in the visceral true story of a war hero who didn’t fire a single shot. Scarred by childhood experiences with his alcoholic WWI veteran father (Hugo Weaving), devout Seventh Day Adventist Desmond Doss (Andrew Garfield) resolves never to touch a gun. This proves something of a challenge when he enlists in the army to fight in WWII. As a conscientious objector, Desmond insists on his right to serve as a medic. But he’s bullied by his unsympathetic comrades, who consider him to be a coward.
His greatest test comes during the notoriously bloody Battle of Okinawa. Returning to the director’s chair for the first time in a decade, Mel Gibson celebrates a very different kind of hero in this intense, blood-soaked true-life tale of faith, courage and patriotism. Andrew Garfield is on outstanding form as the pacifist whose single-handed acts of bravery saved 75 lives.
(Synopsis from Cineworld.)
So, this is the second of a pair of linked film reviews, the first being a review of ‘Amish Grace’. I’d suggest you read it first it you haven’t already.
So, the second review, about ‘Hacksaw Ridge’. I thought this was a superb film. An inspiring story of a pacifist staying true to his conscience and religious convictions, and an unflinching portrayal of the horrors of war, handled in such a way that the courage and sacrifice of the soldiers who do fight and kill is never denigrated. The latter on its own is quite an impressive film-making achievement.
The film could be said to take place in three acts. Act one, formative moments from childhood, leading into a satisfying and wholesome romance, as Doss courts Dorothy (who slaps him for kissing her without asking her permission first!).
Act two is a boot camp adventure cum courtroom drama, as Doss resists the army’s attempts to break him and force him to carry a weapon. It is refreshing to see a Hollywood film in which there is no apology for, or concealment of, the character’s Christian faith, and this is so all the way through the film.
Act three is a war film. A bloody, brutally honest war film, but like none I’ve ever seen, since it revolves around a hero who never fires a single shot or takes a single life. Interestingly, Mel Gibson actually left out at least two significant heroic actions on Doss’s part, feeling that the audience simply wouldn’t be able to credit it, and would assume he was making it up. (To read what these incidents were, scroll down to below the trailer, but they include SPOILERS.)
So, how come I’ve just recommended ‘Amish Grace’ for its extreme discretion in depicting violence, but am now praising ‘Hacksaw Ridge’ (because ‘Hacksaw Ridge’ is a very graphic film, and will certainly not be for all viewers, even among the adults).
Well, I watched ‘Amish Grace’ just the weekend before ‘Hacksaw Ridge’, and as I mentioned in the review, I was bowled away by how well they managed to handle such a horrible crime without showing one shred of violence on screen. Then I watched ‘Hacksaw Ridge’ and came out thinking what a superb film it was, partly because of its utter refusal to hide, glamorise, romanticise, or in any other way conceal the full horror of war. Needless to say, the contradiction struck me. Which approach is correct? Graphic violence, or nongraphic violence, that is the question…
Of course, the answer is that neither approach is ‘correct’; it depends entirely on how it is done, and why. (And indeed, what is being shown. It’s hard to conceive how anyone can benefit from watching ten little girls shot, for any reason.) Such a lot of films featuring graphic violence are simply violence-porn. There’s no reason for the gore other than to titillate and provide pleasure to the (surely perverse) viewers. Or the other category of ‘bad’ graphic films, into which Brad Pitt’s recent film ‘Fury’, a thoroughly unpleasant work in so many ways, surely falls, where the violence seems deliberately gratuitous, with absolutely no goal other than to push the boundaries and shock the viewer.
But sometimes—and perhaps especially with war films—there is a good reason for showing a lot of graphic violence: simply in order to show the pure unvarnished truth. So many war films glamorise combat, romanticise it, conceal the full horror of the battlefield. Sometimes it’s good to have a film that shines the light of truth on war, and the truth is graphic, and horrific. Throughout the film, it always feels as though this is what ‘Hacksaw Ridge’ is seeking to do. The battle scenes aren’t pleasant to watch, but if they strip away people’s illusions about war, they’re serving a good purpose.
My one criticism would be that I felt some of them went on a trifle longer than was strictly necessary, but on the other hand, if you’re in a battle it probably feels like forever, so you could say there is realism in having a bit of length to them!
According to Desmond Doss Jr. (Doss’s only child): “The reason he [Doss] declined [to have his story filmed] is that none of them [those seeking to film it] adhered to his one requirement: that it be accurate. And I find it remarkable, the level of accuracy in adhering to the principal of the story in this movie.” And it does seem, as films go, to be a very accurate one, although the filmmakers have made a few small alterations in the early section, sometimes to heighten tension and drama, and other times to streamline and more simply convey background.
For example, Doss’s convictions about killing stemmed from a combination of a childhood fascination with Cain and Abel and the commandment ‘Though Shalt Not Kill’, and a violent confrontation involving his father, uncle, mother and a gun. All these influences are portrayed in the film, but in ways slightly altered from reality. However, the only significant change to the key battle scenes seems to be the leaving out some of the heroism! Which is a shame, but reading the IMDB discussion boards, Mel Gibson’s fear was clearly well justified!
Overall: A great film that satisfies on many levels. One for the shelf.
Sex/Violence/Profanity: Brief honeymoon scene, not very graphic. CONSIDERABLE graphic war violence. Sensitive viewers strongly cautioned. Considerable crude language.
Heroism Mel Gibson left out [SPOILERS]:
1) In reality, the cargo nets weren’t already fixed to the cliff when Doss’s battalion arrived. Doss was one of three volunteers who scaled the cliffs to fix the nets in place under the guns of the Japanese defenders.
2) After being wounded by the grenade at the end (17 pieces of shrapnel stuck in him) Doss treated himself, then waited for 5 hours before soldiers could get to him to evacuate him. As they headed for safety he saw a badly wounded man. He insisted they stop so he could try to patch him up, then gave up his place on the stretcher to the other man. Whilst waiting for the return of the stretcher, a sniper shot him, shattering his arm. So he fashioned himself a splint out of a discarded rifle stock and crawled 300 yards to safety, under enemy fire.
3) And lastly, not specifically heroism on Doss’s part, but fascinating all the same: a Japanese soldier had Doss in his sights, but every time he went to fire, his rifle jammed!
Information from www.historyVsHollywood.com. The article goes into greater detail about the changes made by the filmmakers.