A mentally unstable Vietnam war veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
Michael, Steven and Nick are young factory workers from Pennsylvania who enlist into the Army to fight in Vietnam. Before they go, Steven marries the pregnant Angela and their wedding-party is also the men's farewell party. After some time and many horrors the three friends fall in the hands of the Vietcong and are brought to a prison camp in which they are forced to play Russian roulette against each other. Michael makes it possible for them to escape, but they soon get separated again. Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
Michael Cimino spent six months shooting his film, and a further five months mixing the soundtrack. Since this was his first Dolby Stereo film, he was eager to exploit the technology to its fullest potential. A short battle sequence, for example, (200 feet of film) took five days to dub. For the re-creation of the American evacuation of Saigon, he accompanied composer Stanley Myers to the location and had him listen to the sounds of vehicles, tanks, and jeep horns as the sequence was being filmed. Myers then composed music for the sequence in the same key as the horns, so that it would blend with the images creating one truly bleak experience. See more »
The hunting scenes supposedly taking place in the Appalachian Range are obviously filmed elsewhere: The Appalachians are a smooth rolling range, but the scenes show towering, jagged peaks. The scenes were filmed in the Cascade Range, clear across the country. See more »
Hey, watch out, Axel. We'll be calling him old fireballs after tonight.
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We gratefully acknowledge the cooperation of our Thai crew in the production of "The Deer Hunter" See more »
I've now seen this film three times with a decade or more between viewings, and every time I see it I come away feeling that movies can't get any better than this. People always comment on the Viet Nam scenes, and it's true that they are as powerful and intense as any war scenes ever filmed. The Russian-roulette betting game, in both its up-river and Saigon venues, may be the most riveting, shattering plot device ever invented, as measured by the pounding of the heart.
But it's the 'home front' scenes that stick with me through the years. I think all the steel town scenes are nearly perfect, untoppable. And that very much includes the Eastern Orthodox wedding and its sequel. When anyone tells me they were bored I just shake my head. There's no arguing with short and shallow attention spans. You're either capable of appreciating art or you're not.
I do have a quibble or two. The deer-hunting scenes looked like nowhere I've ever seen in Pennsylvania, or anywhere else East of the Rockies. I think Cimino deliberately picked an ethereal location above the clouds as a contrast to the steel town. When John Cazale and the others get loaded and act like jerks it jars on Michael, because they have brought the stupid distractions of ordinary life to an extraordinary place. This would matter less if the 'genius loci' were not so strongly present in the other home front scenes. I wish he had used the soft, green forested hills of Pennsylvania for the hunting.
And some of the dialogue--Meryl Streep's in particular--wouldn't work on the page, and only first-rate acting by an inspired ensemble--has there ever been a better cast of young actors?--pulls it off. But these are forgivable errors in one of the finest films ever made.
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