The biography of Ron Kovic. Paralyzed in the Vietnam war, he becomes an anti-war and pro-human rights political activist after feeling betrayed by the country he fought for.
When a sports agent has a moral epiphany and is fired for expressing it, he decides to put his new philosophy to the test as an independent agent with the only athlete who stays with him and his former secretary.
Director:
Cameron Crowe
Stars:
Tom Cruise,
Cuba Gooding Jr.,
Renée Zellweger
During the Vietnam War, a Vietnamese woman struggles hustling on the streets, where she comes face to face with those involved in the conflict around her.
Director:
Oliver Stone
Stars:
Hiep Thi Le,
Tommy Lee Jones,
Haing S. Ngor
The biography of Ron Kovic. Paralyzed in the Vietnam war, he becomes an anti-war and pro-human rights political activist after feeling betrayed by the country he fought for.Written by
Murray Chapman <muzzle@cs.uq.oz.au>
Oliver Stone had real animal feces brought on set for the enema scenes in the VA hospital. See more »
Goofs
The movie major is a decidedly unsympathetic character who ends his discussion with young Kovic by threatening to "take his head" if any more is said about the matter. The real-life major, traced by U.S. Marine Lt. Col. Fred Peck, would not consent to an interview. Through Lt. Col. Peck, the major confirmed Ron Kovic voiced such concerns to him. The major investigated and concluded it was unlikely Mr. Kovic had killed the Marine. Subsequently, the major promoted Mr. Kovic, making him the leader of a new scout group. See more »
Quotes
Mrs. Kovic:
[enters the room, beaming]
Ronnie, Ronnie, you're doing the right thing! Communism has to be stopped! It's God's will that you go, and I'm proud of you.
[gently pats his shoulder]
Mrs. Kovic:
Just be careful, that's all.
[pause]
Ron Kovic:
Don't you know what it means to me to be a Marine, Dad? Ever since I was a kid I've wanted this - I've wanted to serve my country - and I want to go. I want to go to Vietnam - and I'll die there if I have to.
See more »
I avoided this when it came out in 1989 having seen Coming Home (1978) and not wanting to revisit the theme of paraplegic sexual dysfunction and frustration. I also didn't want to reprise the bloody horror of our involvement in the war in Vietnam that I knew Oliver Stone was going to serve up. And Tom Cruise as Ron Kovic? I just didn't think it would work. Well, my preconceptions were wrong. First of all, for those who think that Tom Cruise is just another pretty boy (which was basically my opinion), this movie sets that mistaken notion to rest. He is nothing short of brilliant in a role that is enormously demanding--physically, mentally, artistically, and emotionally. I don't see how anybody could play that role and still be the same person. Someday in his memoirs, Tom Cruise is going to talk about being Ron Kovic as directed by Oliver Stone. And second, Stone's treatment of the sex life of Viet Vets in wheelchairs is absolutely without sentimentality or silver lining. There are no rose petals and no soft pedaling. There was no Jane Fonda, as in Coming Home, to play an angel of love. Instead the high school girl friend understandably went her own way, and love became something you bought if you could afford it. And third, Stone's depiction of America--and this movie really is about America, from the 1950s to the 1970s--from the pseudo-innocence of childhood war games and 4th of July parades down Main street USA to having your guts spilled in a foreign land and your brothers-in-arms being sent home in body bags--was as indelible as black ink on white parchment. He takes us from proud moms and patriotic homilies to the shameful neglect in our Veteran's hospitals to the bloody clashes between anti-war demonstrators and the police outside convention halls where reveling conventioneers wave flags and mouth phony slogans. I have seen most of Stone's work and as far as fidelity to authentic detail and sustained concentration, this is his best. There are a thousand details that Stone got exactly right, from Dalton Trumbo's paperback novel of a paraplegic from WW I, Johnny Got His Gun, that sat on a tray near Kovic's hospital bed, to the black medic telling him that there was a more important war going on at the same time as the Vietnam war, namely the civil rights movement, to a mother throwing her son out of the house when he no longer fulfilled her trophy case vision of what her son ought to be, to Willem DaFoe's remark about what you have to do sexually when nothing in the middle moves. Also striking were some of the scenes. In particular, the confession scene at the home of the boy Kovic accidentally shot; the Mexican brothel scene of sex/love desperation, the drunken scene at the pool hall bar and the pretty girl's face he touches, and then the drunken, hate-filled rage against his mother, and of course the savage hospital scenes--these and some others were deeply moving and likely to haunt me for many years to come. Of course, as usual, Oliver Stone's political message weighed heavily upon his artistic purpose. Straight-laced conservatives will find his portrait of America one-sided and offensive and something they'd rather forget. But I imagine that the guys who fought in Vietnam and managed to get back somehow and see this movie, will find it redemptive. Certainly to watch Ron Kovic, just an ordinary Joe who believed in his country and the sentiments of John Wayne movies and comic book heroics, go from a depressed, enraged, drug-addled waste of a human being to an enlightened, focused, articulate, and ultimately triumphant spokesman for the anti-war movement, for veterans, and the disabled was wonderful to see. As Stone reminds us, Kovic really did become the hero that his misguided mother dreamed he would be. No other Vietnam war movie haunts me like this one. There is something about coming back less than whole that is worse than not coming back at all that eats away at our consciousness. And yet in the end there is here displayed the triumph of the human will and a story about how a man might find redemption in the most deplorable of circumstances. --Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"
154 of 189 people found this review helpful.
Was this review helpful to you?
| Report this
I avoided this when it came out in 1989 having seen Coming Home (1978) and not wanting to revisit the theme of paraplegic sexual dysfunction and frustration. I also didn't want to reprise the bloody horror of our involvement in the war in Vietnam that I knew Oliver Stone was going to serve up. And Tom Cruise as Ron Kovic? I just didn't think it would work. Well, my preconceptions were wrong. First of all, for those who think that Tom Cruise is just another pretty boy (which was basically my opinion), this movie sets that mistaken notion to rest. He is nothing short of brilliant in a role that is enormously demanding--physically, mentally, artistically, and emotionally. I don't see how anybody could play that role and still be the same person. Someday in his memoirs, Tom Cruise is going to talk about being Ron Kovic as directed by Oliver Stone. And second, Stone's treatment of the sex life of Viet Vets in wheelchairs is absolutely without sentimentality or silver lining. There are no rose petals and no soft pedaling. There was no Jane Fonda, as in Coming Home, to play an angel of love. Instead the high school girl friend understandably went her own way, and love became something you bought if you could afford it. And third, Stone's depiction of America--and this movie really is about America, from the 1950s to the 1970s--from the pseudo-innocence of childhood war games and 4th of July parades down Main street USA to having your guts spilled in a foreign land and your brothers-in-arms being sent home in body bags--was as indelible as black ink on white parchment. He takes us from proud moms and patriotic homilies to the shameful neglect in our Veteran's hospitals to the bloody clashes between anti-war demonstrators and the police outside convention halls where reveling conventioneers wave flags and mouth phony slogans. I have seen most of Stone's work and as far as fidelity to authentic detail and sustained concentration, this is his best. There are a thousand details that Stone got exactly right, from Dalton Trumbo's paperback novel of a paraplegic from WW I, Johnny Got His Gun, that sat on a tray near Kovic's hospital bed, to the black medic telling him that there was a more important war going on at the same time as the Vietnam war, namely the civil rights movement, to a mother throwing her son out of the house when he no longer fulfilled her trophy case vision of what her son ought to be, to Willem DaFoe's remark about what you have to do sexually when nothing in the middle moves. Also striking were some of the scenes. In particular, the confession scene at the home of the boy Kovic accidentally shot; the Mexican brothel scene of sex/love desperation, the drunken scene at the pool hall bar and the pretty girl's face he touches, and then the drunken, hate-filled rage against his mother, and of course the savage hospital scenes--these and some others were deeply moving and likely to haunt me for many years to come. Of course, as usual, Oliver Stone's political message weighed heavily upon his artistic purpose. Straight-laced conservatives will find his portrait of America one-sided and offensive and something they'd rather forget. But I imagine that the guys who fought in Vietnam and managed to get back somehow and see this movie, will find it redemptive. Certainly to watch Ron Kovic, just an ordinary Joe who believed in his country and the sentiments of John Wayne movies and comic book heroics, go from a depressed, enraged, drug-addled waste of a human being to an enlightened, focused, articulate, and ultimately triumphant spokesman for the anti-war movement, for veterans, and the disabled was wonderful to see. As Stone reminds us, Kovic really did become the hero that his misguided mother dreamed he would be. No other Vietnam war movie haunts me like this one. There is something about coming back less than whole that is worse than not coming back at all that eats away at our consciousness. And yet in the end there is here displayed the triumph of the human will and a story about how a man might find redemption in the most deplorable of circumstances. --Dennis Littrell, author of "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!"