Mel Gibson's Hacksaw Ridge is based on the true story of soldier Desmond Doss and his conviction not to carry a weapon into war. The film's brutality is juxtaposed with Doss's respect for human life, showing us that there are always two sides to every conflict and how often our judgments of others can be wrong. While the goal of war is to win by killing and destroying, another victory can be obtained by preserving life.
Doss (Andrew Garfield) is a young southerner who decides to enlist in the army in the aftermath of the Pearl Harbor attack and the increasing U.S. involvement in WWII. Doss wants to participate, as he feels it unfair that other boys are off to fight in his place, so he joins with the goal of becoming a medic on the battlefield. Doss is also newly married to nurse Dorothy (Teresa Palmer), and he knows that leaving for war carries a high probability that he won't return. Because his platoon doesn't trust him to fight valiantly and protect his fellow soldiers, Doss faces resistance before ever meeting a real enemy. His commanding officers, Sergeant Howell (Vince Vaughn) and Captain Glover (Sam Worthington), try to get Doss to quit and return home, but Doss stands his ground, always refusing to pick up a rifle. While serving on the front lines in Okinawa, at a point of insurgence called Hacksaw Ridge, Doss and his unit face an unrelenting Japanese force. This is where his morality is put to the ultimate test, as he remains defenseless throughout the entire bloody battle. But when he single-handedly saves the lives of 75 fellow soldiers during the fight, by treating their wounds and dragging them to safety and toward a return home, Doss becomes the hero of his unit and symbol for all who believe in peaceful service.
Doss's religious faith, which has guided him to a belief in non-violence, is challenged throughout the film, and we are able to see how such a strict code must be enacted in a world that rarely offers or allows for moral certitude. We see him struggle to develop relationships and convince others that his belief is not craziness or cowardice, but a true commitment to a life-affirming principle. Garfield shines most in his performance during Doss's court martial for refusing to follow orders. His reasoning is heartfelt and logical, and even if we have doubts about his ability to fulfill his faith, we are convinced he will gladly live and die to try.
The film's high point is when the unit is mowed down by the Japanese who have secured an elevated and hidden position. Many of Doss's mates are killed instantly, but those wounded are left behind. As the unit retreats down the cliff, Doss stays to rescue the fallen. And he does so in a clever fashion that shows not only his bravery, but his intelligence as well. He maintains the prayer throughout the night, "Please Lord, just help me save one more." This is certainly the most incredible and inspiring part of the film, and it makes up for most of the problems found along the rest of the way.
Like many war stories, there are quite a few cliches here. There's the obligatory "We're gonna get you home" lines, the bully in the unit who is a bully for absolutely no reason, as well as the roll call of diverse infantrymen--with names like Tex and Hollywood and accents from New Jersey and the Old South--just to remind us that people from all over the country fought side by side. There's also some clunky dialogue, a few odd cuts where we wonder if there would have been a better take to use, and pacing that feels forced, as the first half of the film covers many years, while the last half covers mere days. Yes, background is important, but the film could trim twenty minutes off the front and wouldn't be worse for it.
Ultimately, besides Doss, the most important person in the creation of this film is Gibson. He's tackled violence and faith brilliantly in his other films, but this one is not quite up to that level of quality. Gibson has never been a subtle director, but his guidance here feels so intent on showing us violence that he seems to assume we wouldn't understand Doss's peaceful stance without it. The action is gruesome, and perhaps necessarily so. But one has to wonder how this film could've been handled by a director with more nuance. I don't know if it would better, but I think it could be different in a good way.
The message of the film is what viewers should take away, rather than any ideas on acting or direction. There is an inherent conflict in the film that must be reconciled. This is a war film that emphasizes not fighting, while simultaneously showing us that defeating evil can only be done through violence (as the conclusion of the film clearly shows). Doss's respect for life is admirable, but as one character rightfully tells him early in the film, you don't win wars by not fighting. However, I think the valuable takeaway from Hacksaw Ridge is how we view service. Doss shows us that everyone can serve, even if one doesn't believe in killing. His unshakable commitment to faith, and also to the country, is an important one that should inspire us all. It's understandable to disapprove of war, and we should all respect human life. But it's how we demonstrate those views that can shape the world. Fighting is sometimes necessary, but firm principles are always necessary.
Grade: B
Doss (Andrew Garfield) is a young southerner who decides to enlist in the army in the aftermath of the Pearl Harbor attack and the increasing U.S. involvement in WWII. Doss wants to participate, as he feels it unfair that other boys are off to fight in his place, so he joins with the goal of becoming a medic on the battlefield. Doss is also newly married to nurse Dorothy (Teresa Palmer), and he knows that leaving for war carries a high probability that he won't return. Because his platoon doesn't trust him to fight valiantly and protect his fellow soldiers, Doss faces resistance before ever meeting a real enemy. His commanding officers, Sergeant Howell (Vince Vaughn) and Captain Glover (Sam Worthington), try to get Doss to quit and return home, but Doss stands his ground, always refusing to pick up a rifle. While serving on the front lines in Okinawa, at a point of insurgence called Hacksaw Ridge, Doss and his unit face an unrelenting Japanese force. This is where his morality is put to the ultimate test, as he remains defenseless throughout the entire bloody battle. But when he single-handedly saves the lives of 75 fellow soldiers during the fight, by treating their wounds and dragging them to safety and toward a return home, Doss becomes the hero of his unit and symbol for all who believe in peaceful service.
Doss's religious faith, which has guided him to a belief in non-violence, is challenged throughout the film, and we are able to see how such a strict code must be enacted in a world that rarely offers or allows for moral certitude. We see him struggle to develop relationships and convince others that his belief is not craziness or cowardice, but a true commitment to a life-affirming principle. Garfield shines most in his performance during Doss's court martial for refusing to follow orders. His reasoning is heartfelt and logical, and even if we have doubts about his ability to fulfill his faith, we are convinced he will gladly live and die to try.
The film's high point is when the unit is mowed down by the Japanese who have secured an elevated and hidden position. Many of Doss's mates are killed instantly, but those wounded are left behind. As the unit retreats down the cliff, Doss stays to rescue the fallen. And he does so in a clever fashion that shows not only his bravery, but his intelligence as well. He maintains the prayer throughout the night, "Please Lord, just help me save one more." This is certainly the most incredible and inspiring part of the film, and it makes up for most of the problems found along the rest of the way.
Like many war stories, there are quite a few cliches here. There's the obligatory "We're gonna get you home" lines, the bully in the unit who is a bully for absolutely no reason, as well as the roll call of diverse infantrymen--with names like Tex and Hollywood and accents from New Jersey and the Old South--just to remind us that people from all over the country fought side by side. There's also some clunky dialogue, a few odd cuts where we wonder if there would have been a better take to use, and pacing that feels forced, as the first half of the film covers many years, while the last half covers mere days. Yes, background is important, but the film could trim twenty minutes off the front and wouldn't be worse for it.
Ultimately, besides Doss, the most important person in the creation of this film is Gibson. He's tackled violence and faith brilliantly in his other films, but this one is not quite up to that level of quality. Gibson has never been a subtle director, but his guidance here feels so intent on showing us violence that he seems to assume we wouldn't understand Doss's peaceful stance without it. The action is gruesome, and perhaps necessarily so. But one has to wonder how this film could've been handled by a director with more nuance. I don't know if it would better, but I think it could be different in a good way.
The message of the film is what viewers should take away, rather than any ideas on acting or direction. There is an inherent conflict in the film that must be reconciled. This is a war film that emphasizes not fighting, while simultaneously showing us that defeating evil can only be done through violence (as the conclusion of the film clearly shows). Doss's respect for life is admirable, but as one character rightfully tells him early in the film, you don't win wars by not fighting. However, I think the valuable takeaway from Hacksaw Ridge is how we view service. Doss shows us that everyone can serve, even if one doesn't believe in killing. His unshakable commitment to faith, and also to the country, is an important one that should inspire us all. It's understandable to disapprove of war, and we should all respect human life. But it's how we demonstrate those views that can shape the world. Fighting is sometimes necessary, but firm principles are always necessary.
Grade: B