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Movie Title: Born on the Fourth of July
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I didn’t want to like this movie. I’m usually resistant to any film whose director grinds an ax so relentlessly as Oliver Stone has been known to, and never so obviously as with this film. But I recently ran across the NY Times list of 1000 best films, and “Born On the Fourth of July” is listed there. While any such list is naturally debatable, it caused me to want to study more of those on the list that I hadn’t seen, and a satellite channel was running this film at a convenient time. I must say, the excellence of Stone’s craftsmanship, and of Tom Cruise’s performance, wore down my resistance to his message, although it took almost half of this lengthy biopic to obtain past my defenses.

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What we have here is the accurate fable of a man whose birthday coincides with that of his country, a young man who was properly raised to fancy all things American. His patriotism led him to volunteer for the Marine Corps and the Vietnam war in the slack 1960s, where everything he had ever believed was challenged in the strongest possible terms. The watershed events that finally moved him from mature all-out American patriot to an American who loves his country but distrusts the government and opposes war, however, were events that mostly followed that famously horrifying war, and said events were often as horrifying in their have contrivance as the things he experienced in Vietnam.

This truly is an apt film, no doubt about it. Stone, a Vietnam vet himself, frames his chronicle expertly, brings out suited performances from all of his players, and included Mr. Kovic (on whose autobiographical book this film is based) at every stage of the production. The pacing of the sage is mild and understandable for its nearly 2-1/2 hour length, and the viewer never has a serious spot wondering where Cruise’s character is coming from emotionally or intellectually.

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“Born On the Fourth of July” has proven to be the capstone of Oliver Stone’s career, and was the performance that took Tom Sail from teen idol to respected actor. No wonder, as Soar at times does more in this film with a survey than he had been able to effect with pages of dialogue earlier in his career.

As with almost any ‘Nam film, the gore of battle and over-the-top filthy language of its scarred survivors mean that viewing it is more of a cathartic experience than a fine one, but beyond that my only nitpick is that one scene has some vets listening to Don McLean’s “American Pie” in 1968, three years before the song was recorded. With that minor caveat, the film has given me a lot to mediate about. While I don’t agree with Stone’s politics, there is no ask that he, Kovic, and others have arrived at their perspective honestly and forcefully, and this film serves as a stunning recount of a time in our country’s history when we fought a second civil war of sorts. Men like Stone and Kovic are the living casualties of that time, and they deserve our respect.

I avoided this when it came out in 1989 having seen Coming Home (1978) and not wanting to revisit the theme of paraplegic sexual dysfunction and frustration. I also didn’t want to reprise the bloody apprehension of our involvement in the war in Vietnam that I knew Oliver Stone was going to relieve up. And Tom Coast as Ron Kovic? I honest didn’t deem it would work.

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Well, my preconceptions were substandard.

First of all, for those who consider that Tom Waft is unbiased another exquisite boy (which was basically my view), this movie sets that wrong opinion to rest. He is nothing short of lustrous in a role that is enormously demanding–physically, mentally, artistically, and emotionally. I don’t glance how anybody could play that role and quiet be the same person. Someday in his memoirs, Tom Glide is going to talk about being Ron Kovic as directed by Oliver Stone.

And second, Stone’s treatment of the sex life of Viet Vets in wheelchairs is absolutely without sentimentality or silver lining. There are no rose petals and no soft pedaling. There was no Jane Fonda, as in Coming Home, to play an angel of adore. Instead the high school girl friend understandably went her beget design, and fancy became something you bought if you could afford it.

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And third, Stone’s depiction of America–and this movie really is about America, from the 1950s to the 1970s–from the pseudo-innocence of childhood war games and 4th of July parades down Main street USA to having your guts spilled in a foreign land and your brothers-in-arms being sent home in body bags–was as indelible as dark ink on white parchment. He takes us from proud moms and patriotic homilies to the low neglect in our Veteran’s hospitals to the bloody clashes between anti-war demonstrators and the police outside convention halls where reveling conventioneers wave flags and mouth phony slogans.

I have seen most of Stone’s work and as far as fidelity to authentic detail and sustained concentration, this is his best. There are a thousand details that Stone got exactly correct, from Dalton Trumbo’s paperback original of a paraplegic from WW I, Johnny Got His Gun, that sat on a tray advance Kovic’s hospital bed, to the unlit medic telling him that there was a more valuable war going on at the same time as the Vietnam war, namely the civil rights movement, to a mother throwing her son out of the house when he no longer fulfilled her trophy case vision of what her son ought to be, to Willem DaFoe’s stutter about what you have to do sexually when nothing in the middle moves.

Also striking were some of the scenes. In particular, the confession scene at the home of the boy Kovic accidentally shot; the Mexican brothel scene of sex/love desperation, the drunken scene at the pool hall bar and the delicate girl’s face he touches, and then the drunken, hate-filled rage against his mother, and of course the savage hospital scenes–these and some others were deeply curious and likely to haunt me for many years to arrive.

Of course, as usual, Oliver Stone’s political message weighed heavily upon his artistic purpose. Straight-laced conservatives will secure his portrait of America one-sided and offensive and something they’d rather forget. But I imagine that the guys who fought in Vietnam and managed to accept assist somehow and survey this movie, will win it redemptive. Certainly to gaze Ron Kovic, fair an ordinary Joe who believed in his country and the sentiments of John Wayne movies and droll book heroics, go from a dismal, angry, drug-addled raze of a human being to an enlightened, focused, deny, and ultimately triumphant spokesman for the anti-war movement, for veterans, and the disabled was fantastic to spy. As Stone reminds us, Kovic really did become the hero that his misguided mother dreamed he would be.

No other Vietnam war movie haunts me like this one. There is something about coming assist less than whole that is worse than not coming abet at all that eats away at our consciousness. And yet in the raze there is here displayed the triumph of the human will and a legend about how a man might get redemption in the most contaminated of circumstances.
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