Youngstown, Ohio 1988. Boonie throws a reunion of of all the China Beach veterans. Among the attending are McMurphy with Joe Arenburg and their baby daughter; Beckett with his wife and ... See full summary »
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A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow Marine recruits from their brutal boot camp training to the bloody street fighting set in 1968 in Hue, Vietnam.
Director:
Stanley Kubrick
Stars:
Matthew Modine,
Adam Baldwin,
Vincent D'Onofrio
A Rolling Stone reporter, embedded with The 1st Recon Marines chronicles his experiences during the first wave of the American-led assault on Baghdad in 2003.
Stars:
Alexander Skarsgård,
James Ransone,
Lee Tergesen
Lt. Col. Iceal "Ham" Hambleton is a weapons countermeasures expert and when his aircraft is shot over enemy territory the Air Force very much wants to get him back. Hambleton knows the area... See full summary »
American and Japanese soldiers, stranded on a tiny Pacific island during World War II, must make a temporary truce and cooperate to survive various tribulations. Told through the eyes of ... See full summary »
Director:
Frank Sinatra
Stars:
Tatsuya Mihashi,
Takeshi Katô,
Frank Sinatra
The true story of George Tweed, an American sailor who became the only serviceman on the island of Guam to avoid capture by the Japanese during the early years of World War II.
Directors:
Richard Goldstone,
John Monks Jr.
Stars:
Jeffrey Hunter,
Marshall Thompson,
Barbara Perez
Combat!, a one-hour WWII drama series on television, followed a frontline American infantry squad as they battled their way across Europe. With mud-splattered realism, the show offered ... See full summary »
This series chronicles the adventures--in the air and on the ground--of the men of the 918th Bombardment Group of the U.S. Eighth Air Force. First commanded by irascible General Frank ... See full summary »
Youngstown, Ohio 1988. Boonie throws a reunion of of all the China Beach veterans. Among the attending are McMurphy with Joe Arenburg and their baby daughter; Beckett with his wife and teenage son; Lila and a terminally-ill Sarge Pepper; Dr. Richard with his wife Colleen; Dodger with his Amerasian son; Frankie Bunsen; and even Wayloo Marie Holmes. McMurphy flashes back to her last frantic days at China Beach in late 1969 and dealing with a mortally wounded marine. Karen Lanier also films the events and interviews the vets while hoping to come to peace terms with her mother K.C. After the party, the vets decide to visit the Vietnam Veterans Memorial Wall in Washington D.C. for one last trip down memory lane. Written by
Anonymous
Colleen McMurphy:
I remember thinking nothing had changed, the choppers coming in, the boys, and the body bags. Everything was exactly the same as the day I arrived, except for me.
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The shrewdness of the series-finale episode took me a while to appreciate, as decades-long as the fictional time-line 1967-1985 itself. The premise seems simple enough, almost sophomoric: why did nurse-protagonist, cool-hottie, teflon-hearted-superwoman Colleen McMurphy end up with the guy she did? Veteran character-actor and generic nice-blob Adam Arkin plays her husband. They awkwardly meet three regular characters from her past at a reunion, and all are not-so-thinly-veiledly, shamelessly, still in love with McMurphy. Like a morality play, there's Dr. "Security" Richard, "Pretty Boy" Boonie, and "Manly Man" Dodger. Each in turn makes it plain, subtle or no, that his heart yet pines for McMurphy. Simple apparent answer: if only she could have found a man who combined the best of each of her flawed suitors. Is that why she rebuffed them all? Did she settle?
The men's-room scene seems about to propel milquetoast husband right down pathetic lane. He's so desperately trying to find his well-stalked wife that he's looking in the men's room? Does he expect to discover an illicit tryst of the most tacky form? Long pause builds the tension. But then that bubble pops in Whedonesque style when she answers "over here". What the? There she is in the last stall with the door open, fully matronly clothed.
Where the writing U-turns is his reaction. He does not shout in horror, what are you doing in a men's room. Nor does he clarion for retreat before shameful discovery. Instead he does something so ordinary as to be extraordinary: small talk. This elicits the calmest of incongruity-belying responses from the overstimulated McMurphy. By banal conversation he makes the moment sublime: these two have an understanding. The palpable audience tension starkly contrasts the character ease. The inevitable discovery sees our heroes coolly toasting some vintage dry wit, sardonic banter at the expense of a stunned young restroom patron. Here begins the answer, this is no ordinary couple.
Here we approach the heart of What A Woman Wants, or actually the oft-confused co-conundrum: What Makes A Woman Happy. It wasn't safety. Not good looks nor fun-lovingness. Neither rugged grit. And it certainly wasn't mere devotedness, which all suitors exhibited in abundance. Not even all these qualities combined. Here's what Colleen really wanted all along: 1. Don't judge me, accept me as I am and as I become. 2. Care about me, be proverbially there when I need it, and 3. Make me laugh.
Even the husbandly exit from the men's room scene is telling: he leaves a few seconds after a diligently-coaxed smile relaxes McMurphy's battle-furrowed brow at last. So this was her knight's chivalrous goal. For what other refuge is there from man's worst, as well as from mankind's worst? The worst of war's experience is not witnessing injury or death. It's not even cruelty, perverse savagery, indifference, nor incompetence. It's when those base emotions are so commonly amok as to reflect the same in the observer. It's not the calloused view down into the bleak abyss, it's the callous-evidenced complicity in having helped dig it. The only way out of an overload of abhorrence is the overdose of absurdity that is humor. And, quite simply, the man who delivered it won her heart. McMurphy knew this all too well when she left China Beach and left all her beaus behind. She ultimately answered the question of the series through her chosen's actions.
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The shrewdness of the series-finale episode took me a while to appreciate, as decades-long as the fictional time-line 1967-1985 itself. The premise seems simple enough, almost sophomoric: why did nurse-protagonist, cool-hottie, teflon-hearted-superwoman Colleen McMurphy end up with the guy she did? Veteran character-actor and generic nice-blob Adam Arkin plays her husband. They awkwardly meet three regular characters from her past at a reunion, and all are not-so-thinly-veiledly, shamelessly, still in love with McMurphy. Like a morality play, there's Dr. "Security" Richard, "Pretty Boy" Boonie, and "Manly Man" Dodger. Each in turn makes it plain, subtle or no, that his heart yet pines for McMurphy. Simple apparent answer: if only she could have found a man who combined the best of each of her flawed suitors. Is that why she rebuffed them all? Did she settle?
The men's-room scene seems about to propel milquetoast husband right down pathetic lane. He's so desperately trying to find his well-stalked wife that he's looking in the men's room? Does he expect to discover an illicit tryst of the most tacky form? Long pause builds the tension. But then that bubble pops in Whedonesque style when she answers "over here". What the? There she is in the last stall with the door open, fully matronly clothed.
Where the writing U-turns is his reaction. He does not shout in horror, what are you doing in a men's room. Nor does he clarion for retreat before shameful discovery. Instead he does something so ordinary as to be extraordinary: small talk. This elicits the calmest of incongruity-belying responses from the overstimulated McMurphy. By banal conversation he makes the moment sublime: these two have an understanding. The palpable audience tension starkly contrasts the character ease. The inevitable discovery sees our heroes coolly toasting some vintage dry wit, sardonic banter at the expense of a stunned young restroom patron. Here begins the answer, this is no ordinary couple.
Here we approach the heart of What A Woman Wants, or actually the oft-confused co-conundrum: What Makes A Woman Happy. It wasn't safety. Not good looks nor fun-lovingness. Neither rugged grit. And it certainly wasn't mere devotedness, which all suitors exhibited in abundance. Not even all these qualities combined. Here's what Colleen really wanted all along: 1. Don't judge me, accept me as I am and as I become. 2. Care about me, be proverbially there when I need it, and 3. Make me laugh.
Even the husbandly exit from the men's room scene is telling: he leaves a few seconds after a diligently-coaxed smile relaxes McMurphy's battle-furrowed brow at last. So this was her knight's chivalrous goal. For what other refuge is there from man's worst, as well as from mankind's worst? The worst of war's experience is not witnessing injury or death. It's not even cruelty, perverse savagery, indifference, nor incompetence. It's when those base emotions are so commonly amok as to reflect the same in the observer. It's not the calloused view down into the bleak abyss, it's the callous-evidenced complicity in having helped dig it. The only way out of an overload of abhorrence is the overdose of absurdity that is humor. And, quite simply, the man who delivered it won her heart. McMurphy knew this all too well when she left China Beach and left all her beaus behind. She ultimately answered the question of the series through her chosen's actions.