I’ve always had a soft spot for Good Morning, Vietnam (1987). It isn’t Robin Williams’ best film or
his best performance for that matter but it marked a pivotal moment in his
career. Up to that point he had done several comedies built around his manic
comedic sensibilities that were mostly commercial failures. Only The World According to Garp (1982)
hinted at his capacity for mixing comedy and drama and it also scored both with
critics and audiences. With Good Morning,
Vietnam, Williams gave it another try, teaming up with director Barry Levinson, hot off the comedy Tin Men
(1987) and who wisely surrounded the comedian with a rock solid cast of
character actors. The result was a bonafide blockbuster (it was #1 at the box
office for 9 weeks!) and a genuine crowd pleaser that received several
accolades. For me, Good Morning, Vietnam
is a fun, engaging film that lets Williams cut loose and do his thing while
also attempting to impart a bittersweet romance and a sobering reminder of the
war that the United States was losing.
It is 1965 and Airman Adrian Cronauer (Robin
Williams) arrives in Saigon to work as disc jockey for the Armed Forces Radio
Service. He’s greeted at the airport by Private First Class Edward Garlick
(Forest Whitaker) and right from the get-go Levinson does a nice job of evoking
a sense of place by immersing us in the sights and sounds of this exotic city
and its inhabitants. Once Cronauer and Garlick arrive at the base we are
introduced to a colorful assortment of characters, starting with the strict
commanding officers, Lt. Hauk (Bruno Kirby) and Sgt. Major Dickerson (J.T. Walsh). The former considers himself something of a comedian (“Readers Digest is considering publishing
two of my jokes.”) but is hopelessly square when it comes to anything remotely
funny. The latter is the film’s humorless antagonist who lays down the law with
Cronauer early on in the film, shutting up the usually unflappable D.J. through
intimidation and actually making him sweat (or is that just the heat?).
Cronauer’s first radio show is a dynamic debut as
Williams gets to unleash his crazed stand-up routines with him voicing characters
both based on actual people, like Gomer Pyle and Walter Cronkite, and ones that
he makes up on the fly. Levinson breaks up the comedian’s whirlwind onslaught
with a fantastic collection of period rock music by the likes of the Beach
Boys, James Brown, Them, The Supremes and many others that plays over footage
of soldiers toiling around Saigon or hanging out at their bases. It is an unorthodox
radio show to say the least as Cronauer mercilessly parodies the United States
military and the government with biting political humor that does little to
endear him with Dickerson and Hauk, the latter of which reprimands him afterwards.
Of course it wouldn’t be a Barry Levinson film
without a few scenes of guys sitting around talking (see Diner and Tin Men) and in
Good Morning, Vietnam the place is
Jimmy Wah’s, a local G.I. bar (“It’s real homey in an opium kind of way,”
Cronauer deadpans upon first entering.) where Cronauer and the other D.J.s hang
out. It is rather memorably owned by a man that calls everybody “Earl” and who is
obsessed with actor Walter Brennan.
Cronauer finds himself attracted to a young
Vietnamese woman named Trinh (Chintara Sukapatana) and becomes a teacher at an
English-as-a-second language school in order to get closer to her. The
introduction of this setting gives us a little insight into the Vietnamese
people as Cronauer begins to interact with Trinh and her family, in particular
her brother, Tuan (Tung Thanh Tran). The scene where Cronauer introduces
himself to the class is particularly memorable because we see Williams the
comedian playing to the hardest room of his career – a group that does not
understand English. At first, they are unimpressed and confused but he
eventually is able to communicate with them on a basic level. There is a
spontaneous feel to these scenes as if what the Vietnamese actors (non-actors?)
are saying was unscripted and Williams is simply reacting to whatever they say,
eliciting genuine surprise and laughter from the gifted comic. This scene also
continues Cronauer’s unorthodox yet effective way of communicating with others
as he eschews stuffy text book phrases for common, every day sayings and, of
course, curse words.
Director Barry Levinson successfully harnesses the
comedian’s wild, manic energy in this film. Williams’ radio monologues
(famously adlibbed by the comedian) are the highlights as he cuts loose with
his trademark rapid-fire humor (“What’s the difference between the Army and the
Cub Scouts? Cub Scouts don’t have heavy artillery.”). He is an actor who needs
a strong director to rein him in. His best films are the ones where he
collaborated with a director who had their own distinctive vision (Peter Weir,
Terry Gilliam and Gus Van Sant) and this one is no different.
Even though Good
Morning, Vietnam is essentially a vehicle for Williams, Levinson wisely
surrounds him with a strong supporting cast of character actors, like Robert Wuhl, Bruno Kirby and J.T. Walsh. Kirby is excellent as the terminally unfunny
and unhip Lt. Hauk. The scene where he temporarily takes over Cronauer’s show
with his own brand of comedy is almost painful to watch. There is also an
amusing running gag about how no one ever salutes him despite his rank. This
film would mark the start of a memorable run of supporting roles in popular
comedies like When Harry Met Sally…
(1989), The Freshman (1990), and City Slickers (1991).
Walsh proved to be a very credible antagonist to
Williams with his sober intensity and gravitas that he brings to the role.
Williams is such a force of nature and a larger than life personality that he
needs someone who is just as forceful and Walsh does an excellent job as his
vindictive superior. Fresh from Oliver Stone’s gritty Vietnam War film Platoon (1986), Forest Whitaker is cast
against type as Cronauer’s meek, by-the-book assistant and displays some nice
comedic chops in various ways, like the nervous, high-pitched giggle he
repeatedly emits upon first meeting Cronauer, or the way he always turns the
ignition key when first getting into a jeep with the engine already running.
The first half of Good
Morning, Vietnam is the light, entertaining stuff of an anarchic
anti-authoritarian comedy as we see Cronauer gleefully breaking all the rules
and having fun doing it. He gets into a bit of trouble but nothing major. The
second half of the film sees the comedic elements take a back seat in favor of
an unrequited romance between Cronauer and Trinh as well as the growing
insurgency in Saigon. The tone of the film noticeably darkens when Cronauer
narrowly escapes a bomb exploding at Jimmy Wah’s and Levinson doesn’t shy away
from depicting the carnage and the ensuing chaos with shots of bloodied
victims, both American soldiers and locals, as well as shots of dead bodies lying
in the street. It is a shock not only to Cronauer but to us because nothing
that came before prepared us for this.
To make matters worse, Cronauer goes on the air and
gives his account of what happened without it being approved. Williams does a
nice job here, first, in the aftermath of the bombing as he tries to make sense
of the carnage, and secondly, when he tries to put on a funny face afterwards
on his radio show. His jokes fall flat as the shock of what he saw and
experienced sinks in. His defeated facial expression says it all. Mitch Markowitz’s screenplay makes a smooth transition between the two halves of the
film by doing it gradually with elements of comedy and drama blending together
naturally so that neither one is entirely abandoned in favor of the other.
Levinson also shifts the emphasis on locales over the course of the film with
most of it set in the army base for the first half and then opening things up
in the second half as we see more of Saigon and the surrounding area. The focus
also shifts to that of the Vietnamese as we see how Trinh and Tuan live when
they take Cronauer to their village. At this point in the film he has gotten
tired with being censored and told what to say, what news to report, and what
songs he can play. He finds himself spending more time with Tuan and is soon
rejected by Trinh, coming to the sobering realization that they never really
had a chance to become romantically involved in the first place.
Adrian Cronauer got his start as a radio broadcaster
when he helped start the University of Pittsburgh’s campus radio station. By
1962, he was majoring in broadcasting at the American University in Washington,
D.C. He found himself eligible for the draft and decided to volunteer for the
Air Force with his first choice being flight training. However, he didn’t want
to make the kind of time commitment necessary and entered training for
broadcasting and media operations. He successfully completed it and was
transferred to an Armed Forces Radio station in Greece. He had one year left of
his enlistment and was given a change of assignment with the option of either
going back home to the United States, where he would work on training films, or
broadcast live to American soldiers in either South Korea or South Vietnam. He
chose Vietnam.
In 1979, Adrian Cronauer and one of his old military
buddies Ben Moses were discussing the success of television shows M*A*S*H and WKRP in Cincinnati. They thought about creating a sitcom that fused
the two shows together – a comedy based on U.S. armed forces radio. They wrote
a treatment and pitched it to the networks but none of them were interested
because Vietnam wasn’t considered very funny at the time. So, they put the
treatment away until years later when they decided to change it from a sitcom
to a movie of the week and sent it to Robin Williams’ manager.
Williams read the script and loved it. He suggested they
make it into a feature film. He said in an interview, “It’s closer to me than
anything I’ve ever done. It’s very close to home.” However, he couldn’t find a
director to make it into a film. At some point, he met Barry Levinson who read
it and liked the challenge of showcasing Williams’ acting abilities with his
comedic sensibilities.
To capture Williams’ wild improvisations during the
radio sequences Levinson used three cameras running at the same time. The only
things scripting for these sequences was a line about cappuccino, an impression
of Walter Cronkite, and a line about the Vietnam War being brought to us by the
same people who brought us the Korean War – the rest was Williams riffing. As
Levinson pointed out in an interview, “It’s one thing to do improvisation, it’s
another thing to do period improvisation.” The comedian had done his homework,
reading about the country, watching documentaries about the war and talking to
people who had been there.
Good
Morning, Vietnam was based very
loosely on Adrian Cronauer’s experiences in Vietnam. He was not as funny or as
wild as Williams, he butted heads with military censors once, and rebelled
against the military’s “Polka Hour” programming with Top 40 music like Frank
Sinatra. Unlike Williams’ version of Cronauer, the real one’s tour was
significantly longer.
Good Morning, Vietnam received mostly positive reviews from critics. Roger Ebert gave the film
four out of four stars and wrote, “Good Morning, Vietnam
works as straight comedy and as a Vietnam-era MASH, and even the movie's love story has its own bittersweet
integrity.” In his review for The New
York Times, Vincent Canby praised Williams’ performance: “Mr.
Williams's performance, though it's full of uproarious comedy, is the work of
an accomplished actor. Good Morning, Vietnam
is one man's tour de force.” The Globe
and Mail’s Jay Scott wrote, “The first comedy about that war, Good Morning, Vietnam manages to be uproariously funny without ignoring
or trivializing the tragedy. It's awkwardly contrived here and there,
especially during its recon patrols into Vietnamese life, but for the most part
Mitch Markowitz's skeletal script is smart enough to dig in, hunker down and
stay out of Robin Williams' line of fire.” However, in his review for the Washington Post, Hal Hinson felt that
the film was “a peculiar hybrid – a Robin Williams concert movie welded
clumsily onto the plot from an old Danny Kaye picture. And neither half works.”
The successful run Good Morning, Vietnam enjoyed and the accolades Williams received
emboldened him to try several other comedy-drama hybrids, most notably Dead Poets Society (1989), The Fisher King (1991) and Good Will Hunting (1997), which resulted
in an Academy Award. Often cited as the first Vietnam War comedy (soon followed
by Air America in 1990), it is
interesting to note that the film came out the same year as Stanley Kubrick’s
nihilistic take on the conflict, Full
Metal Jacket but the two films couldn’t be further apart in their approaches.
Along with Oliver Stone’s Heaven and
Earth (1993), Good Morning, Vietnam
attempted to give a human dimension to the Vietnamese people. Unlike many other
Vietnam War films of the 1980s, the Vietnamese are not portrayed as some
anonymous enemy but real people with their own distinctive personalities. If
anything, Levinson’s film personalizes the Vietnam War and questions, in its
own way, what exactly the U.S. was doing there in the first place while
delivering an entertaining story as well.
SOURCES
Hawthorn, Tom. “Voice of
Vietnam Adjusted by Hollywood.” Globe and Mail. February 26, 1988.
Reese, Michael. “Radio was
the Only Thing the GI’s Had.” Newsweek. January 4, 1988.
Scott, Jay. “Inventiveness
That’s Boundless: Williams Finds Freedom in Vietnam.” Globe and Mail.
December 12, 1987.
Zekas, Rita. “No Radio Work
in Robin Williams’ Future.” Toronto Star. January 12, 1988.
Well said, researched and covered here J.D.. I enjoyed the review very much.
ReplyDeleteMyself and a friend were just discussing this film a few days before you posted. We were taking about what a good, solid film it was for all of the reasons you mentioned particularly its humanity.
Kirby, as you said, is just excellent as is Walsh and Williams. What a strong cast. Great material. I have to give this another look because as you said it is entirely entertaining.
I always loved that scene in the classroom. It's a very touching film that puts a face on real people.
As you said, following Platoon and the likes of Full Metal Jacket, GMV seemed so refreshingly different by approaching the war through a very different perspective. William's humor, too, really defuses the tension of a very difficult period in history and very difficult subject matter.
The Sci-Fi Fanatic:
ReplyDeleteThank you sir, for your kind words! You nailed it when you mentioned that one of its strengths is its humanity. It really tried to give some depth to the Vietnamese people or, at the very least, get away from the faceless enemy stereotype. And Williams is fine form, backed by a great cast of character actors and some of the best scenes are them bouncing off each other.
Thanks for stopping by!
I've never heard before about this movie... However, after reading your review I'm surely gonna watch it :) Might be an interesting one.
ReplyDeleteGreat! Thanks for stopping by and I hope you enjoy the film.
ReplyDelete