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 also serves as 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>
One of very few films whose 70mm prints kept the film in its original 2.35:1 aspect ratio (letterboxed within the 70mm 2.20:1 frame), instead of simply being cropped to 2.20:1, as was done with most widescreen films blown up to 70mm. See more »
The cans of Rolling Rock beer, Iron City beer (in the 1960s Pennsylvania bar), Pepsi and Mountain Dew (at the wedding reception), and Miller beer (in Vietnam) are all 1970s vintage. The bottles of Rolling Rock do, however, roughly represent the correct 1960s design. 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 »
A comment re the other comments: A lot of the comments criticize the first half hour as being too long. In my opinion, these comments miss the point of the movie.
Of course many of the scenes in the first hour don't advance the narrative. They're not supposed to; they're for character development.
The whole point of the movie is to show us how the various characters were affected by the war. It wouldn't have worked nearly as powerfully as it does had the first hour been trimmed down. We have to sense the careless and frat-boy-like immaturity of these young men. That's why the scenes all revolve around frivolity and seemingly senseless boyish behavior; it creates such a stark contrast to the devastated characters of the three who went to war (and the relatively unaffected personalities of those who stayed behind, like Stanley).
The strong points of the film are the outstanding performances of nearly every actor in the movie. Yes, there are technical deficiencies in the sound, but it hardly matters. This is nitpicking compared to the overall construction of the film.
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