LAST FLAG FLYING
US, 2018, 124 minutes, Colour.
Bryan Cranston, Steve Carell, Laurence Fishburne, Yul Vazquez, J. Quentin Johnson, Deanna Reed-Foster?.
Directed by Richard Linklater.
Is it possible to have a film which offers a great deal of admiration for war veterans while being, at the same time, anti-war? Director Richard Linklater shows that it is possible with this patriotic tale which questions many aspects of patriotism.
In a way, the title describes the three central characters, veterans of the Vietnam war, men with mixed memories. The setting, however, is 2003-4, with memories of the Gulf War of the 1990s and the immediate experience of fighting in Afghanistan and the invasion of Iraq at that time. The old veterans encounter veterans from both those wars.
We are introduced to Sal, who manages a very run-down bar. A drinker, very loud in his uninhibited comments, living with a metal plate in his head. His played by Bryan Cranston with quite some exuberance, perhaps an understatement. One night, into the bar comes a very quiet, rather small man. After some prompting, Sal recognises him as a friend from Vietnam, Doc. Doc is played with quite some restraint by Steve Carell who can do both comedy (Bruce Almighty) as well as serious (Foxcatcher). He does have some very raucous memories about service in Vietnam but in this visit, seeking Sal’s help, is very sad. His only son, aged 21, has been killed in Baghdad and his body is being brought back to the US for solemn honours and burial in Arlington Cemetery.
Doc also wants the help of another veteran from those days and takes a disbelieving Sal to find him as a distinguished preacher, Richard, played with great dignity, with some military throwbacks in comment and swearing, by Laurence Fishburne.
And so, the film is something of a journey and a quest. The American military is very supportive, explaining how Doc’s son was distinguished in service and killed in action, that the President offers his condolences, that there will be honours in the burial ceremony.
At this stage we are introduced to the contemporary military, firstly in the person of a very straight-up-and-down officer, Willitts (Yul Vazquez) as well as a young African-American? Marine (J. Quentin Johnson) a close friend of Doc’s son who was with him when he was killed. His name is Washington, career-military, very disciplined in manner who will accompany the three on their unexpected journey for the burial.
It is probably best to leave plot line at that point. A great deal goes on. There is a filling in of the story of how the young man was killed. There are suspicions about the three old veterans who are held up by Inland Security and then apologised to. There are plans for a trip by car, by U-Haul? truck, by train.
There is a great deal of sadness, especially for the bereft father and some sadness as well in his story, being the fall guy for some misdemeanours in the past and spending some time in the brig. He is a good man, has been a devoted husband, good father (as, emotionally, attested to by a letter from his son in the event of his death). But, when the three men go into detail reminiscences along with Washington, the mixed blessings of loyalty to the core, comradeship, the pressure in Vietnam of the jungle, alcohol, drugs, prostitutes, there is a great deal of raucous humour.
If the audience is caught up by the three characters in the quest for the burial of the dead son, it is most likely they will become much more involved as the film goes on, share the emotions of the men, particularly the sadness. Richard Linklater has made a film about military loyalties and relationships but also a questioning of the role of authorities, like President Bush, who take countries into war, in countries far away from them and not posing an immediate threat, the prim and proper protocols of the highly militarised personnel.
1. An American film about war? Memories of Vietnam, the Gulf War, the invasion of Iraq, the war in Afghanistan?
2. The setting of 2003, the setting of the invasion, the stances of George W Bush, the perspective of 2018?
3. The film immersing the audience in the atmosphere of the wars without showing war scenes? Verbal descriptions? The communication by the characters and their experiences, memories and talk?
4. The patriotism of the title?
5. The patriotism of the perspectives, the individual military and Marines, their loyalty to the core, to the country, their pride, the uniform, their action, their memories, comradeship, the spirit of serving the country, with the prejudices against Gooks and Towelheads?
6. The perspective, anti-war? The president and decisions to go to war, the bases, in countries far away from home, not seeming a threat to the US? The president and condolences of deaths, the false honours, the cover-up? The value of the truth? The pettiness of some of the deaths in action? The proclamation of missions? The defence of the US but so far away? Jungle life, desert life? The physical suffering, the infected ear from the desert? Mental health post-traumatic stress? Plates in heads? The drinking, the drugs, the prostitutes? Responsibility and irresponsibility? Career officers and their orders, their exclusivity?
7. The introduction to the three, age, Vietnam experience, memories, bonds, the brig, the core, loyalty, letting go on leave?
8. Sal, his bar, the plate in his head, quiet, his personal exuberance, the failing bar, Doc’s arrival, not recognising him at first, reminiscing, Doc’s request, the car, going to see Richard, at the church, meeting Ruth, the congregation, Sal and his extroverted responses, especially to the sermon?
9. The mission, Doc and his son, killed at 21 in Iraq, the body coming home, the honours, Doc’s request about travelling to receive the body? Sal saying yes, Richard and his age, health, wanting to refuse, Ruth challenging him?
10. Richard, the memories of the past, his conversion experience, the Bible, the contrast with Doc, Doc marrying, his son, his wife’s death, his son’s death? The man both happy and sad?
11. Travelling, Sal taunting Richard? Going to Washington, the security, advised to go to Delaware, the rituals for receiving the body? Colonel Willetts, Washington and his story, knowing the son? With him when he died? Doc wanting to view the body, the authorities advising against? His wanting the truth about how his son died? The ordinariness of the
event, Washington to get the Cokes, the son going, shot in the back of the head? Doc seeing the body, reacting, wanting to take his son home for burial?
12. The military, the red tape, permits, reactions? Transferring the body home, trying to get it in the car, hiring the U-Hall?, the train journey? Their being held up by her Homeland Security, apologised to?
13. The train trip, Washington and his presence, their bringing him into the conversation, hearing about Iraq? The guard having served in the Gulf?
14. The raucous reminiscences, the three of them and their behaviour, the drinking, the drugs, the prostitutes, Doc’s reaction, sad but humorous?
15. Going to New York City, enjoying the night, the discussions and the drink, arriving late, sleeping at the station, the next train?
16. Arriving home, the ritual, the military reception, the satisfaction for Doc burying his son?
17. A movie journey, a transforming journey?
