2020. 3. 3. 04:43ㆍ카테고리 없음
As a former LRRP myself (LRSU it is now called) I was ecstatic to find this movie when it first came out as it wasn't highly budgeted nor widely released. The movie hits very authentic notes about LRRP teams except for the fact that they talk a heck of a lot more than any real LRRP team would in the filed (but then again, you wouldn't have much of a movie if they didn't talk). The attention to detail is very good, from calling in arty missions on a discovered enemy base camp to doing the damage assessment after it. The morale and esprit do corps of recon teams is shown very well here. If you are interested at all in small unit missions, this is at the top of the short list! Much of the credit for the genuine feel of this film should go to two former Marines who had 'been there, done that': Russ Thurman and Dale Dye. Dye's method of running the actors through a mini-boot camp helps raise this film to the level of 'Platoon' and 'Saving Private Ryan', his more widely-known achievements.
Seen largely through the eyes (or lens) of the handheld camera of the mostly-unseen 'Mopic', it gives viewers a different perspective on bonding that happens when men put their lives into each other's hands almost daily. Its ring of truth comes from endless tiny details that only former grunts would ever notice. When someone asks this former Marine which are the best Viet Nam films, '84 Charlie MoPic' and 'The Odd Angry Shot' are at the top of a very short list. Vietnam war film shot in 1st person POV.
It really works and you feel that you are right there with the platoon who are on a recon mission in the jungle bush of Vietnam. This effort is surprisingly good and is more gritty and realistic than most war movies out there (not mentioning a few big budget titles). The acting is top notch and the original way it was filmed (over 10 years before Blair Witch) makes this one a gem to own in your vhs/dvd collection. I liked this film a lot and highly recommend it to any fan of 'Nam titles. This is a unique film. It not only is filmed from a first person POV, but it didn't glamourize war as even humanist films do.
There is not too much action yet the film is still fascinating. Instead, the film features what soldiers do in between all the glamourized gunfights. The soldiers camp out, quietly hike, interact and create tension amongst each other and also grow closer, scout out Vietcong positions, and talk about home. This is the most realistic depiction of Vietnam missions in film. The action is mostly incoherent, making it more realistic.
There isn't any plagarized, motivating score (Pearl Harbor) set to dozens of soldiers running in slow motion. There are a few gunshots out of the jungle and a man goes down. THe film is emotional and powerful, a great war film. 8/10 or.1/2 stars out of. 84 Charlie Mopic (84C Mopic) is the best movie ever made about small unit warfare. If that's what you're into, you're golden with this mock documentary about a LRRP/Ranger unit.
A cast of unknown actors (Richard Brooks of Law & Order, Glenn Morshower of CSI, Christopher Burgard, Nicholas Gascone) generate extraordinary performances. The difference with other movies is that it gives a lot of attention to the detail of going on a small 5 man, 5 day mission as the LRRPs did. There is a lot of attention paid to noise discipline, and when enemy shots ring out, you have to work out for yourself from where. The enemy is seen up close only once in this movie. There is no heavy handed treatment of 'politics' as in Hamburger Hill, no lots of nonsense like in Platoon, just five (seven) guys who are thrown together and have a job to do, and hopefully come through alive.
If you like it, you may also like Sniper, with Tom Berenger and Billy Zane. I have never seen another movie presented in this way. The closest film presentation, similar to this, I can remember seeing before is the 'You Are There' series, with Walter Cronkite, that we used to see in school during the 50's and 60's. I liked those and I liked this. I personally think this is a tremendously underrated film. In addition, this movie happens to be about my old unit (An Khe-1969).
Many of the experiences presented are similar to what my experiences were at that time. This film paints a realistic picture of one segment of the war in Vietnam, and it is NOT a pretty picture. But, it very effectively demonstrates the closeness that develops among men in combat as well as the fear and drabness we lived with. It would probably be a good demonstration film for new military servicemen. I was cast back to that time. It was effectively presented and very well acted.
The technical adviser did well because I saw no errors in techniques and equipment. If you want to see what recon could be like, see this film. Comparing this with my other favorite war movie, MASH, I'd call them both 'naturalistic.'
They show humor and horror side by side, long stretches of tedium and short bursts of terror, without relying on an artificial plot or stereotyped characters. But 84 Charlie MoPic is much more realistic. I was not in combat or in Vietnam, but I was in the Army at that time. Several of my Army friends had jobs making films exactly as shown in 84 Charlie MoPic. This is as accurate a picture of an American combat soldier's experience in Vietnam as any I can imagine. The first time I saw it, I was totally taken in, thought it was an actual documentary until the very end.
Incidentally, 84C or 84 Charlie is (or was) the code for the 'military occupational specialty' of Motion Picture Specialist. This low-budget movie packs a maximum impact. The cast of no-names eliminates the predisposition to the glorification of war associated with many big name 'war' actors. I have rarely seen a film about small-unit dynamics as well done. Every part is well-acted. Of interest are the relationships between the draftees, the enlisted lifer, and the opportunistic Lieutenant.
The tension, confusion, and boredom of combat operations is captured in excruciating yet tender detail. The film conveys a good sense of the terrible waste of the Vietnam war.
This movie is down, dirty, and real. If you are a war film buff, this one is a must see! This 1989 mockumentary employs a simple premise: a combat photographer known as 'Mopic' (Byron Thames) accompanies an infantry squad on a patrol during the Vietnam War. We see the story through Mopic's lens. (Except for the POV, it's similar to the second half of 'Full Metal Jacket.'
) The soldiers are often scared, frustrated and fatigued. They are trying to reach a village where a helicopter can take them out of the jungle, but they are delayed by the Viet Cong. The enemy is an unseen, menacing presence in the jungle - until a Viet Cong soldier is captured. The actors were unknown in 1989, but Richard Brooks would later play Assistant District Attorney Paul Robinette in 'Law and Order.'
When I first watched this film I was in the 82nd at the time. It looked like an Army uncut documentary. My friends and I watched it several times looking for errors. The only error we could find (and it was a stretch) was the helicopter in the final scene had modified landing skids that were not developed till later. That helo also had a red checklist that probably would not have been used. The boots were tied right and worn-out in the right places.
The rucks were heavy and carried like people who did that a lot. They wore their equipment right and each had the fitness level of an infantryman. The short-timer caught the spirit of what it meant to be short. Our short timers said the same stupid comments.
'I'm so short I could halo off a dime' is funny the first time you hear it, not the 50th. Every squad seems to have the same people in it. This movie captured that to a 'T.' They talked way to much for a LRRP unit but it makes sense if you put grunts in front of a camera. Hands down one of the most realistic war movies ever made.
In subtle ways this captures what it is like to be a grunt. The acting is first rate, with Richard Brooks delivering the the goods as OD, the defacto leader of this group of recon soldiers.
The first person perspective throughout the movie adds to the impact and lends a realism that conventional cinematography wouldn't have been able to pull off. The violence (it IS a war movie) is very realistic and disconcerting, which further involves the viewer in the movie.
Moreso, this movie investigates the personal dynamics of the group of soldiers, set into the horror of the situation. In retrospect, the story and characters are really nothing you've not already seen. The stereotypical archetypes are represented, the redneck, the scared short-timer, etc, but while you watch this movie, the combination of a documentary style filming and first person perspective, combine to make this film feel new and refreshing. Granted 'Blair Witch' had a similar feel, but this pre-dated that film by 10 years and pre-dated 'The Last Broadcast' (from which the 'Blair Witch' was nicked) by 9 years. If you can find a copy of this film. Settle in, crank it up and immerse yourself in it. It isn't the same as 'the real thing': it isn't even close, nothing is.
But it does let you glimpse into the world, without the fake slo-mo sequences, mood enhancing soundtrack, and trappings that separate you from 'real life', and you can actually almost believe this IS a documentary. This 'mockumentary' was a forerunner to films like The Blair Witch project, and the tension and fear that the soldiers feel, trapped behind enemy lines with a broken radio and a dead comrades body, is a lot more believable than that felt by those three annoying kids running away from things that go 'bump' in the night. You really do get a feel for what it must have been like. When the group are ambushed, you hear the gunshots, and the screams, but you just can't see where the enemy are. It must of been hell, getting shot at but not knowing where it was coming from. The cast of relative unknowns really impresses, especially Nicholas Cascone as 'Easy' ('soon to be promoted to PFC: Private F.ing Civilian') and Richard Brooks as 'OD', the group's black leader. The spirit of camraderie and brotherhood echoes strongly throughout this film, exemplified by scenes such as the one where Sgt.
'Cracker', a self confessed redneck, is interviewed by the 'Lessons Learnt' crew and is asked: 'Coming from South Carolina, how do you feel about being led by a black man?' After a strained silence he answers: 'Those are real-world questions. They don't have any place here in the Nam.
Why don't you ask if OD is the best damn GI I have ever humped a ruck with, or if I would risk my life for him, and I have, or if he would risk his life for me, and he has. Those are the kind of questions you should be asking.' The action is interspersed with long periods of waiting, boredom, and contemplation. The futility of their mission, and indeed the entire war, is brought to the fore. They feel distanced from their loved ones, and long for some time 'in the rear with the gear', away from the front lines, which are plagued by a shadow-like enemy and viciously effective booby-traps, not to mention the seemingly endless nights, when trees move just like Charlie.
This movie is recommended not only to War flick fans, but to anybody interested in seeing how a pseudo-documentary should really be made. As a Viet Nam veteran, I saw this movie on cable approximately 1 year after it was made.
I was actually under the impression that this film was a documentary and not a movie. The realism and events were common place in 'NAM'. Not for the faint of heart. The film depicts a LRRP ( Long Range Reconisance Patrol) on one of its missions. It very vividly describes the terrain, problems, booby traps and other adverse conditions met by our troops during the Viet Nam Campaign. It also informs the viewer of some of the tactics used by the Viet Cong, the North Vietnamese Army and the U.S Forces during this war. It brings the thoughts, emotions and feelings of the patrols members as events occur during this patrol.
Kind of, assuming this movie is way way better and 10 years younger. I made this trailer with some of the lines of the movie and best scenes also. Impressive performance by unknown actors in this low-budget Vietnam drama. This movie actually is a great masterpiece.The story is being told in the form of a documentary, bringing you to the deep jungle of the Vietnam conflict.The immersion is so effective that is the closest experience you can get of a real patrol inside Nam-war era. The minors details of the guerrilla highlight by Patrick Duncan, the director, make he movie even more realistic. TRAILER 720p(upscaled) http://www.youtube.com/watch?v=yrc3U4X2aZ0.
Watching 84 Charlie MoPic right after watching Rambo: First Blood Part II is like watching a difference between a Republican and a Democrat. You get to see all of the mindless, brawny stuff, the nonsense and the mayhem, and in the end everything is supposed to turn out alright when it really shouldn't. Then you get to see some sensibility, compassion, understanding, and there's still a tough quality when it's there and not hidden behind the speeches. It's a fascinating experiment to do if you're into movies in general, or have seen neither one particularly. Ultimately, MoPic won the double feature in terms of quality and durability, albeit with a smaller budget and sometimes a little.too.
much on its mind. Neither film reinvents the wheel (and naturally Rambo blew maybe too many up to count), but with Patrick Duncan's film he gets to the heart and soul of what is best about these guys in combat: soldiers just making their way, some harder asses than others, who all just want to find a way home.
Sadly, Rambo's home.is. the jungle, but that's for another review. One can tell the film is low-budget, if nothing else, because of the lack of action. It's possible that the director might have been tempted to up the ante if he had more to work with, or bigger-name stars. But as with other under-the-radar 'B movies' about war, less can be more depending on the script and the actors given. No one is really too recognizable here (some actors went on to do TV, others didn't, they were all fresh faces to me), and that adds to the believability.
No one is an action hero, and some are just scared so much you can feel it through clenched teeth. There's jokes told here and there, some big words, and steely glances. No one in this company going through Charlie's territory likes it one iota, not even LT, who is looking perhaps to rise in the ranks of what he sees as a 'corporation' like Gulf & Western. Another soldier rightfully quips, 'or Engulf and Devour.' The approach that writer/director/former-vet Duncan does is not the first of its kind in terms of style (he was preceded by at least a few years by Cannibal Holocaust's method of first-person cinematography and point of view), but it's the first film I can think of that uses not only the approach but the person holding the camera as part of the story. MioPic is a guy who has been editing footage for a while at a nearby base, and gets cans and cans of films to look at; some have nothing, other ones, well, they keep him up at night.
Zwiad 84 Charlie Mopic (1989)
That this isn't just a passive observer adds to the tension when it comes time to shoot the combat footage (however little it is, though it makes sense after a while), since he's got to have the balls to keep up and not look away. It covers the problem that certain horror films have when one wonders why the camera wouldn't just turn off after a while.
84 Charlie Mopic 1989 Full
We are, as they are, stuck in a fixed position. Oddly enough it kind of is the predecessor of the real-life approach to filming most of the documentary Restrepo. Again, for another review on that one. While one could nitpick certain things with the style- such as, there being perfect sound but it being a camera circa 1968 or 1969, which means a sound guy or at least a boom operator would need to be around, and who isn't- but it's really about the men on screen, men that Duncan himself may have known to an extent. It should be noted that not all of the characters are originals either. There's the cocky guy, the quiet focused man (no interviews), the country white-trash guy (actually, he's not as conventional as you'd expect), and a few other types.
The approach in how long we stick with the guys, just them talking, before a shot is even fired, does do something crucial: we are with them for so long that they become real and we can feel the pain when one is hurt, or, eventually, as they're picked off. Some of this is so powerful that one can overlook certain similarities to other war films (i.e. The 'sniper-shooting-soldier' scene in Full Metal Jacket, a heated exchange of one soldier to another from Platoon). It's a character piece that gets us feeling for what these soldiers had to go through, how insane it was just to get from point A to B to C, how its 'corporation' of sorts was neither a real business or a game, perhaps something in between. It's far from perfect, but it's alive and kicking as a testament to people in war.
It never trivializes, or makes it very 'fun', but it's hard to look away. Unlike Rambo (which I did not hate by the way), it's as true as it can be. As I recall, this was one of those movies that probably deserved a great deal more exposure than what it really got. It's timing was unfortunate.
It came along on the heels of 'Platoon' and 'Full Metal Jacket' and even 'Good Morning, Vietnam,' so the various views of the Vietnam conflict had largely been done to death in the space of a few years and by much higher profile and higher budget filmmakers. Went from ignoring the conflict to a nationwide confession of guilt in the space of a year or so. Anyway, this was a good effort. It's low budget, but worthwhile, and, as the previous poster noted, the technique was the 'first person' sort used in 'Blair Witch' but done many years before that movie ever appeared. Sent to the jungles of Vietnam to film a small unit for a military training video, an aspiring director experiences a side of war seldom told in this fascinating movie helmed by Vietnam War veteran Patrick Sheane Duncan. The film is innovatively shot in fake documentary style from the point of view of the cameraman and while the constant hand-held photography is jarring at first, it sublimely places us in the young man's shoes as he asks prodding questions that the other soldiers seldom want to answer.
In a welcome touch, the protagonist gets some screen too as the others grab his camera while he is urinating (his face as he talks about developing film stock depicting the horrors of war is unforgettable), plus he is visible in the haunting, memorable ending. The best aspect of '84C MoPic' is possibly the dialogue.
Some of it is downright maudlin and the movie feels plodding at times early on, but as the story progresses and the soldiers open up more to the protagonist, things grow increasingly interesting. Of particular note is the unit's lieutenant waxing poetic about the army being an 'equal opportunity employer', excited to be in on the action since it may lead to a promotion (sentiments that cause his drafted underlings to recoil), plus one of his subordinates declaring that 'out here, the bush is the boss', not military rank. We never quite get to know all the characters in that much depth, but where each is coming from is always evident and as such this makes for a superb insight into the less glorious and action-packed elements of fighting in war.
84C 'MoPic' is a military cameraman filming a Long Range Reconnaissance Patrol (LRRP) mission during the Vietnam War. LT is a lieutenant new in country and eager to climb the military ladder. OD (Richard Brooks) is a wise sergeant. Easy is short. With Pretty Boy, Hammer and Cracker, the group encounters the enemy and dangers along the way. This is what is today referred to as found footage movie. The movie is filmed through MoPic's camera point of view.
What I love the most are the little insightful moments of the cat and mouse game with the North Vietnamese. Some of the 'talk' with the group gets a bit too written. Asking Cracker about his black leader is too on-the-nose.
The low budget doesn't interfere too much. It forces the movie to focus on the small group. The action isn't as compelling as one would expect because it does get confused. In a way, it's more realistic but less cinematic. This is a fascinating experiment in filmmaking. Something like this might not look original now, but back when it was released it was probably refreshing and innovative. An army cameraman (code-name Charlie MoPic) films a small recon platoon to record the procedures of combat situations in the jungles of Vietnam.
Think of its low-budget (and it shows) and especially competing with Vietnam war films of the late 80s like 'Platoon', 'Full Metal Jacket' and 'Hamburger Hill'. Looking for a different angle to set it apart which I don't know how successful it was, as I only heard of the film for the first time a couple months back. It does remind me of the TV show 'Tour of Duty', which if I remember correctly had an episode using this concept.
Still '84 Charlie MoPic' is quite a personal, gut-wrenching and gritty look into the exploits on the front-line. It doesn't shy away either, giving the characters plenty of time to bond and open up with their differing perspectives. It's driven by its dialogues/characters, as it's in the details, commonplace but realistic. Sometimes a little slow and meandering, but those looking for constant action will be hugely disappointed, as when it occurs its only minor and the Viet Cong are kept mainly unseen, but it does have impact because we feel every inch of pain, discomfort and disorientation the soldiers encountered.
This is where the intensity arrives from; the chemistry and respect between the men. That when they start getting picked off in quick concession, the intimate styling crafted gave it a more grounded sense that played to its strengths.
It's primal, instinctive, as their combat training makes little headway in their quest for survival. There are no rules in this war, where danger is always there. The performances are raw, but believable and well-delivered by a bunch of no names. The low-scale handling gives it an organic, but tight and humid touch Written and directed by Patrick Luncan, he makes good use of the one idea concept and lets it flow accordingly to achieve maximum effect. 84 Charlie MoPic shows us how to make a great war movie - it just takes a good story, great scripts, solid A-grade acting, good locations & fine camera work. The docu-drama style complements the narrative brilliantly.
No big budget effects means the real story unfolds without punctuation. Every scene has a reason to be there & each one contributes to the story. This is not only the best Vietnam movie I have ever seen, it is possibly the best small unit war movie ever made. The enemy is everywhere but nowhere - we only ever see one opposing soldier close up. The characters are without exception very well done. The leads, Sgt GD, Easy & Lt are really well supported by the rest of this small cast. If you only ever watch one movie about Vietnam, make it this one.
Patrick Duncan's debut feature arrived late in the cycle of Vietnam War films but offered a unique perspective of the conflict, with no '60s nostalgia, no Heart of Darkness allegorical significance, and no coming-of-age baptism by fire. The film instead consists entirely of footage shot by an Army cameraman assigned to follow a six-man reconnaissance unit behind enemy lines, in effect making the audience another member of the patrol. It's a fascinating way to depict warfare at its most intimate and vulnerable level, without the crutch of big budget production values, but Duncan's faux-documentary technique sometimes works against itself because, strictly speaking, this isn't a documentary, and some of the dialogue sounds all too obviously scripted.
The film works best when the camera is simply eavesdropping, showing how their proximity to death bonds each soldier together regardless of race or rank, and capturing like no other war film the tense ambiance of patrolling through hostile territory.
The following statement appears in opening credits: 'This film is dedicated to the men of: C Co., 2/502nd, 82 Airborne Division, Ft. Bragg, N.C.; C Co., 3/503rd, 173rd (ABN) BDE, Bon Song, Vietnam; 173rd (ABN) Brigade Jungle School, An Khe, Vietnam; IFFV Forward Observer Training Center, An Khe, Vietnam.
Wherever you might be.”The following acknowledgements and thanks appear in end credits: “‘84 Charlie Mopic’ was developed with the assistance of The Sundance Institute. The following statement appears in opening credits: 'This film is dedicated to the men of: C Co., 2/502nd, 82 Airborne Division, Ft. Bragg, N.C.; C Co., 3/503rd, 173rd (ABN) BDE, Bon Song, Vietnam; 173rd (ABN) Brigade Jungle School, An Khe, Vietnam; IFFV Forward Observer Training Center, An Khe, Vietnam. Wherever you might be.”The following acknowledgements and thanks appear in end credits: “‘84 Charlie Mopic’ was developed with the assistance of The Sundance Institute. On 1 August 1969, “LT,” 2nd Lieutenant Richard B. Drewry, faces the camera and announces he is leading a long distance reconnaissance mission into the central highlands of Vietnam, and that the mission is being recorded so any lessons learned can be used in future training films.
He is interrupted when a squad of soldiers appear. Drewry introduces himself to Sergeant “OD” O'Donigan, who is not happy being saddled with a photographer and demands to speak with his captain. The infantrymen introduce themselves to the camera. First is radioman Private 'Easy' Easely, whose tour of duty is almost up. He is followed by “Pretty Boy” Baldwin, machine gunner William “Hammer” Thorpe, and weapons specialist “Cracker” Frye, a sergeant from the Deep South. A disgruntled OD returns and orders the men to board a helicopter. They disembark and run into a bamboo forest, distancing themselves from the landing spot.
As they proceed to their destination OD declares the cameraman is making too much noise and orders Pretty Boy and Easy to duct tape his gear to keep it from banging around. Upon learning that this is LT’s first mission, Pretty Boy tapes the the lieutenant’s grenade pins down so he does not blow himself up. At the first break, the cameraman confesses this is also his first mission and he volunteered after months of processing other cameramen’s work, and Easy declares that “MoPic” is the cameraman’s new name.
They all freeze when they hear a noise nearby. Drewry asks what is going on, but OD silences him by pointing his rifle in the lieutenant’s face.
On 1 August 1969, “LT,” 2nd Lieutenant Richard B. Drewry, faces the camera and announces he is leading a long distance reconnaissance mission into the central highlands of Vietnam, and that the mission is being recorded so any lessons learned can be used in future training films. He is interrupted when a squad of soldiers appear. Drewry introduces himself to Sergeant “OD” O'Donigan, who is not happy being saddled with a photographer and demands to speak with his captain. The infantrymen introduce themselves to the camera.
First is radioman Private 'Easy' Easely, whose tour of duty is almost up. He is followed by “Pretty Boy” Baldwin, machine gunner William “Hammer” Thorpe, and weapons specialist “Cracker” Frye, a sergeant from the Deep South. A disgruntled OD returns and orders the men to board a helicopter. They disembark and run into a bamboo forest, distancing themselves from the landing spot. As they proceed to their destination OD declares the cameraman is making too much noise and orders Pretty Boy and Easy to duct tape his gear to keep it from banging around. Upon learning that this is LT’s first mission, Pretty Boy tapes the the lieutenant’s grenade pins down so he does not blow himself up. At the first break, the cameraman confesses this is also his first mission and he volunteered after months of processing other cameramen’s work, and Easy declares that “MoPic” is the cameraman’s new name.
They all freeze when they hear a noise nearby. Drewry asks what is going on, but OD silences him by pointing his rifle in the lieutenant’s face. After determining the sound was a large lizard, Drewry asks OD to teach him to survive, but also treat him as an officer. The next time OD points his weapon at him, Drewry will see he is court martialed. OD responds that that if he has to point his gun at Drewry again, he will pull the trigger. During hours of marching the men defend OD’s actions, telling Drewry that OD is the only one who can get them home alive.
During another rest, Easy discovers a bag of marijuana in MoPic’s knapsack. OD appears, dumps it on the ground and declares getting high on a mission is suicide. Drewry pulls out a cigarette and Hammer snatches it from his lips, explaining that cigarette smoke can be smelled from a quarter mile away. They continue marching, but their progress is impeded by Drewry and MoPic, whose heavy camera equipment is slowing him down. The radio picks up American soldiers requesting support as they are under attack. OD vetoes Drewry’s suggestion they go help, stating they would make little difference. During the night, Easy radios the battalion commander, ordering artillery be fired on his position as the Viet Cong have overwhelmed his defenses.
Drewry protests they should have gone to his aid, but OD suggest the lieutenant not be so eager to get killed. The next day, Drewry interviews the men. Pretty Boy tells how he has avoided death on multiple occasions and Hammer talks about getting drafted. Easy voices his fear he that he will be killed before his tour of duty is up. Drewry asks Cracker if his being a South Carolinian makes it hard to serve under OD, who is black. An angered Cracker tells him that he loves OD closer than a brother and both men have risked their lives for each other.
He then orders MoPic to turn off the camera. Later, OD shows MoPic a Viet Cong booby trap; a grenade fixed with a trip wire surrounded by punji sticks. He explains when the first man is killed by the explosion, the rest of his squad leaps into the brush, impaling themselves on the sharpened bamboo. Later, the squad hits the deck when a Viet Cong patrol walks. Drewry throws himself to the ground and a stake goes through his hand. He stifles a scream as an enemy soldier nearly steps on him before moving on.
Later, Hammer bandages Drewry’s hand as he and OD study the map. Drewry points out a site where he believes the enemy is heading. After a long hike, they arrive to find a large company of Viet Cong camping near a river. From their new uniforms and equipment, OD deduces they are raw troops and devises a plan to call in an artillery strike, then gun down any survivors from a nearby hilltop. During the night, Hammer talks about his father getting him drafted to make a man out of him and Drewry explains he is a career officer and views combat as an opportunity for advancement. In the morning, they discover that Viet Cong reinforcements arrived during the night. OD notices that the enemy’s scouts are missing and changes the plan.
Instead of shooting at the survivors of the barrage, he decides to call in the artillery and run. As the shells land on the enemy, OD leads his men downhill only to find the path blocked by six North Vietnamese soldiers.
After a quick gun battle, only one wounded Viet Cong remains. Over OD’s protests, Drewry orders Hammer to bandage the enemy’s leg. Pretty Boy screams as he is hit by a sniper’s bullet. The squad takes cover, leaving Pretty Boy in the open. Hammer leaps up to save him, but takes a round in the shoulder. Pretty Boy is shot twice more and pulls out a grenade to commit suicide.
Another round knocks the grenade from his hand and he yells for OD to finish him. OD shoots Pretty Boy in the head. Cracker spots the sniper and kills him. With tears streaming down their faces, the men place Pretty Boy in a body bag and OD tells Drewry they cannot carry both the corpse and the prisoner. OD convinces Drewry that the prisoner will give away their position if they leave him behind. OD hands Drewry a knife, explaining a gunshot will give away their position, then searches the soldier, finding a letter and photographs. OD hands them to Drewry, telling him he should know who is killing.
Crying, Drewry plunges the knife into the man’s heart. Easy declares his radio has been hit as more gunfire erupts. OD takes a bullet in the hip while Cracker takes three in the chest. Hammer kills another sniper as Cracker dies in Easy’s arms. OD orders his men to abandon the bodies.
They interrupt their march to duct tape OD’s wound shut so he does not bleed to death. Hammer turns to the camera and tells his Dad that although he was not a hero, he did the best job he could do. Easy panics and screams that he will be the next to die. Drewry gives him his flak jacket and OD assures Easy that he will protect him. Hammer takes point and as OD warns him to watch for booby traps, Hammer steps on a landmine and is blown up. They finally arrive at the village where they are to rendezvous with a rescue helicopter only to find all the villagers have been massacred.
When Drewry wonders which side killed them, OD snaps “does it make a difference?' As the helicopter approaches, Drewry mistakenly throws a yellow smoke grenade signaling that there is no enemy in the vicinity. As bullets hit the ground around him, Drewry stamps out the flare and throws the appropriate smoke grenade. The helicopter lands and a door gunner lays down suppression fire. MoPic rushes to the chopper, tosses in his camera, which is still recording, and rushes back to help Drewry carry OD. As they get OD inside, MoPic is shot and falls. The helicopter ascends as Drewry reaches for the cameraman, but MoPic is hit two more times and dies.
Drewry’s boot comes down in front of the camera lens, blocking the shot until it runs out of film.