THE LAST FULL MEASURE

US, 2020, 116 minutes, Colour.
Sebastian Stan, William Hurt, Samuel L.Jackson, Christopher Plummer, Ed Harris, Peter Fonda, John Savage, Linus Roache, Bradley Whitford, Dale Dye, Jeremy Irvine, Amy Madigan, Diane Ladd, Alison Sudol, Lisa Gay Hamilton, Ser’ Darius Blain, Asher Miles Falica.
Directed by Todd Robinson.


Cinema release in the US in February 2020, just as Covid-19 hit. Then to Netflix. A Vietnam story, a very strong cast. The title is a quotation from Abraham Lincoln, from the Gettysburg Address, a reference to self-sacrifice in war, “the last full measure of devotion�.

This is a very moving film about men fighting in Vietnam, young men, out in the fields, ambushed, sudden deaths, injuries, helicopter rescue. But they are flashbacks because this is a story of 1999, an attempt to persuade the American government to award a Medal of Honour to a young man, Bill Pitsenbarger, who had given his last full measure of devotion in the field. A true story, from 1966-1999.

The screenplay uses a powerful device to draw in audiences. There has been a 32 year gap between action and this final request for the medal. There have been barriers, silences, cover-ups. And, once more, a weary application. A young man in a Pentagon office, Scott Huffman (Sebastian Stan), finds that he is assigned to this case. He is not particularly interested. There is to be a change of Secretary for his office. He is concerned about his own career and future, his wife and son. We are not particularly impressed by him.

But, as he meets some of the veterans, meet the parents of the hero, is touched by his experiences in his encounters, thes audience begin to identify with him much more, want to get to know the situation more, and, as each of the vets has nightmares, important flashbacks, we begin to appreciate who the young man was, his actions and decisions, his motivations, his willingness to give up his life for others. The whole narrative becomes something of a mission, of a quest.

Once again, the cast. Quite a collection of veterans, solid actors for the 1999 sequences, Samuel L Jackson, withdrawn and fishing with his grandchildren; Ed Harris, looking rather emaciated, surviving; a shellshocked Peter Fonda, unable to sleep at night because of his memories and frightening dreams; William Hurt, part of the helicopter rescue squad, haunted by his efforts to persuade the young hero to come back to safety; John Savage, now retired to Vietnam, creating a sanctuary on the very grounds where the fatal operation took place.

And, most movingly, a dignified performance by Christopher Plummer as he was turning 90, the young man’s father, battling terminal cancer, hoping for some kind of honour and vindication, Diane Ladd playing his wife.

A blogger remarked that they wanted more detail about the heroic young man. Rather, it seems better that we share the experience of Scott Huffman on his quest, gradually learning more and more, building up a final, more rounded, picture which made sense of the heroism.

But, at the end, we come back to the bureaucracy, political ambitions, neglect by officers in bringing forward the truth, some snobbery concerning mere ordinary soldiers. The screenplay is certainly no advocate of ambitious bureaucracy which lacks a sense of humanity.

A significant re-visiting of American action in Vietnam, irrespective of whether one was in favour of the war or not, a story of men in war, limitations and strengths, responsibilities, suffering, injury and death, heroism in rescue, heroism in bonding with men under fire, willingness to die. The final award ceremony is significant but is highly emotional. Many bloggers mentioned their tears.


1. Title? The quote from the Gettysburg address, Lincoln on the last full measure of devotion, self-sacrifice in war?

2. Inspired by a true story, the experience of the Vietnam war? The photos, video clips and quotations during the final credits?

3. The scope and strength of the cast?

4. The device of Scott Huffman and the investigation? The device of audiences identifying with Scott, the job, his increasing involvement, clues, tracks, revelations? The audience experiencing the flashbacks and the experience of the war and ambush? The audience gradually appreciating the heroism and the experiences as Scott discovered more about the war, veterans – and about himself?

5. 1966, the restaging of the battles, the mission, the soldiers on the ground, the air rescue, the ambush, injuries and deaths, the communication with the authorities, the audience seeing the war in close-up, gradually understanding and appreciate more as Bill Pitsenbarger was seen?

6. Bill Pitsenbarger in himself, the audience learning the background, the air force, the mission, his decision to go down into the field, his work with the wounded, the bodies and their being lifted into the helicopter, his interactions with the men, his staying on the ground, getting the gun, going out of the field, his death?

7. 1999, the issue of the Medal, 32 years in request? The documents at the Pentagon? Tully and his visit, his character, interactions with Scott, the continued challenge, his work as a palliative nurse over the decades?

8. Scott, audience identification with him, the opening, being busy, at home, his wife and son, her pregnancy? At the office, the changes in the Pentagon, his change of job, preparing budgets? Stanton and his friendship, their interactions, discussions about the future? Scott and his visit with the outgoing Secretary, the issues? His unwillingness to be involved, a job, sense of duty, detached? Information, loss of documents?

9. The transition from Scott’s experience of a job to get done, to a quest, the audience sharing his quest?

10. The visit to the various veterans, the insertion of the flashbacks, indications of their characters, the situations, under fire, injuries, the rescues, their personal memories and flashbacks?

11. Billy Takoda, Samuel L.Jackson, the loner, retreating, the grandkids and fishing? Not welcoming Scott? The recorder in the river? His giving testimony, his later visit, the revelation about his responsibilities, seeing him in the flashbacks, his leadership, phoning and communications, the errors and the consequences, his blaming himself that Bill Pitsenbarger even landed?

12. Ray, Ed Harris, the toll of the years, driving the bus, his memories, nightmares returning, the discussions with Scott, his co-operation? The letter to Jenny and his not delivering it, his regrets – and at the final ceremony is handing over the letter decades later?

13. Jimmy, his wife and her defensiveness, Jimmy and his trauma, the memories, unable to sleep at night, the talking with Scott, the rifle, his testimony?

14. Tully, eventually talking with Scott, his role in the mission, the helicopter, urging Bill to come back? Blaming himself for the death?

15. Tracking down Chauncey Kepper, the visit to Vietnam, Vietnam in the 1990s, 20 years after the end of the war? His sanctuary, on the site of the ambush, talking with Scott, memories, the sanctuary with the butterflies, the Buddha and the pictures of Mary, the general religious dimension, sitting in peace and letting go?

16. Frank and Iris, going back to 1966, the home movies, their stories, their bringing up their son, his values, his enlistment, their surprise, the shock and sadness at his death? Yet they continued pride, keeping his memory alive, the mementos? Scott and his visit, the effect of meeting Frank, changing his attitude, Frank and the terminal cancer, wanting some kind of recognition of his son before he died? Iris as the supportive wife? The couple visiting Scott’s home, meeting his son, the friendship with Scott’s wife? The hospitality? And the visit in the hospital?

17. Jenny, the friendship with Bill, the letters, Frank never opening them, Jennie marrying, present at the ceremony, receiving the letter from Ray?

18. The film’s critique of American bureaucracy, disputes and reputations at the time of the war, officials covering reputations? The issue of the medal, so few given to Air Force personnel? Stanton as the symbol of bureaucracy, his work, positions, ambitions, access to officials, the pressure on Scott, friendship with him? Persuading him about the job, Scott taping him? Scott going to meet the senator, Stanton and his being protective?

19. The senator’s role in the war, his regrets, the documents, not forwarding the issue of the medal? Politics in 1999, prospective elections, Stanton protecting him? His listening to Scott and discussing with him?

20. The return to the Secretary, the discussion with Scott, his furthering the issue of the medal?

21. The effect of the experience on Scott, a transition from the job and detachment to commitment and quest, his interview with the job, saying he was not available?

22. His decision to go to the media, the setup, filming?

23. The transition to the decision concerning the medal, President Clinton signing the document, the ceremony, the Secretary presiding, his speech, the veterans all present, meeting one another? The Secretary and his invitation for all to stand with their involvement in the war and their connections?

24. The importance of the film in 2020, the history of the acknowledgement and lack of acknowledgement of the Vietnam veterans? Their war experiences, post-traumatic stress,
their lives and struggles? And this acknowledgement whether one was in favour of the war or not?

25. The quotation from Lincoln and the tribute to the self-sacrifice to the last full measure of devotion?