The best films of modern war movies
Egotistical soldiers or killed for their country the prominence of this genre that includes many nuances, historical, geographical and socio-political contexts, in addition to a huge variety of formats traveling from the complaint cinema to the esthetician pamphlet, with beautiful sunsets over spread the desert and officers who leave behind their wives embarazadísimas. Having regard to the portentous nature of the subject, then we will discuss only the best war films from the movie2k turning point for the genre that marked the first of them, and applying as selecting criterion those stories in which the soldiery focus the main attention and action the front constitutes much of the footage.
“Apocalypse Now” ( Francis Ford Coppola , 1979): “Heart of Darkness”,novel by Joseph Conrad in which Coppola was inspired to the script, did not include any military parameter beyond the effects of the Belgian colonization in the congo. This suggests that “Apocalypse Now” also had a germ warfare and their attachment to certain recognizable gender factors should be rather than substantial purity. The protagonist is a soldier, almost infatuated with the heat of Vietnam, long waits in huts as cells and smells of napalm. There are scenes of combat, perhaps the quintessential combat scene, with its harmony latest model helicopters, padding palm trees and parodiable pattern as ironic as Wagner and Valkyries. So “Apocalypse now” fit the parameters of the war, and even became the best war film, resurrecting a genre stagnated in formulas silbantes platoons, long view.Also it remains the best projected from its release date, despite its lengthy footage and confusion between which version is good, the original or thedirector’s cut . But it is not a war movie or a single war to dry: Coppola was against his reason and his own fortune, who risked in the company; is that of a young man in search of an answer when the flow downstream just drag dead and shit. The horror, the horror, and the opposite of the double word.
“Full Metal Jacket” ( Stanley Kubrick , 1987): A war film capable of giving milestones of the genre as the bumbling soldier while denouncing the reasons for existence of gender is a rare find that could only get someone so capable of lyric and gelidez as Kubrick. That jacket iron wire and bullet casings is an attitude that soldiers learn during a grueling workout. The first half of the film dismantles the commonplaces of military camps and friendly coexistence among the crowd. After shipping the hinge to the front in Vietnam, capes discover that there are events for which you have not come protected, despite the regulation uniform and to others that have developed from a spooky house indifference. Function as horror movie until late in the footage: continuous anticipation of a monster that is poking his head like madness, suicide and paranoia, and whose final roar frightens all moralizing while denouncing the emptiness of violence as a climax manual.
“The Hurt Locker” ( Kathryn Bigelow , 2009): One night in February 2010 was celebrated in style a woman pick the Oscar ® for Best Director and see his movie marked as the most prestigious gala-and other many awards galas critically. He noted, too, that a woman who had achieved such a clever episode on a basically male regiment, with a tone and pulse filmic, prejudice, not usually accompany the arm of the filmmakers. But not only Bigelow had already addressed, with remarkable results, the warlike atmosphere -and has been chosen to prepare a recreation of the operations of the USgovernment to hunt for Bin Laden – but it becamematter of what I deserved sexes a fair analysis of merits. And “In hostile ground” he developed fiercely that tension thriller trench with a group of specialists in bomband returning light burned unbreathable doubts of the soldiers. A torched the foreground of moral conflicts in Iraq, patrolling northern losing their military and personal goals, and a sandstorm scraping eyes and let dry throat. No messages or advertisements, or embellishments.
“The Big Red One” (Sam Fuller, 1980): That touch Fuller, racy, unpredictable, unstoppable and, rather than red, flesh, could not be stamped entirely in his approach to the war by gaffes hand of the producer in final assembly. Two proposals, one to four hours and another two were rejected and never seen until 2004, when a reconstruction was dedicated to thefilmmaker, now deceased. The benefits of the film is that, despite its crippled condition, continues to provide material first, especially when part of the maleada premise of a sergeant and his platoon. Fuller was based on their own terrible memories when he served during World War II and tried tomake such crazy ideas like Martin Scorsese in one of the lead roles. Finally he got no less mythical names, Lee Marvin as a somewhat tinny, Mark Hamill, or Skywalker tried to make a career, and Robert Carradine. The rate resulting from the decisions of postproduction and that chain of autobiographical flashes constituted a high bombing narrative mode, with apparent chaos and surprises from all sides, whether as beasts like a bombshell or as hilarious as propinada flogging a Nazi miniature.
“Platoon” ( Oliver Stone , 1986): From “Apocalypse Now”, Hollywood took penchant for psychoanalysis soldiers molten lead, these young people a generation grown in stability, prepared for hope and shattered by the unintelligible cries Vietcong . As the “Hearts of Iron” (1989) by Brian De Palma , Stone chooses an American tender, played by Charlie Sheen , when could pass such a picture of personality, which changes the university through the courtyard of military training. Emboldened by the example of other fellow directors, or driven by the urge to spit out the anti – war anger that he did not avoid military service at the time, Stone reflected personal experiences during the war US and Vietnam in the sixties, swinging the story between his gift for action and unleashed long and powerful dialogues that the components of that ‘are released platoon’ naive or ruthless. Training camp, too, for many then consecrated faces, like Johnny Depp , Forest Whitaker , Kevin Dillon and Willem Dafoe .
“The Thin Red Line” ( Terrence Malick , 1998): The military deals are very greedy for any actor in Hollywood for the dramatic versatility involving -now run, now attack, weep now, now drunk, and maybe die – now for the fun and ease of camouflage makeup based on gobs of mud and rotting leaves. But they must also be a crossfire of egos by most relevant papers. In the case of Malick, no interpreter is quite sure what kind of role it is up to the end of the assembly phase. The film fueled the urban legend of actors suddenly angry to see their lines of dialogue reduced to a minimum, as with Adrien Brody .But beyond the populist, Malick squandering his exaltation by the senses and liquor extracted in that drunken beauty shots, infect waters and khaki clothes. It was not easy poetizar the tall grass of Guadalcanal during World War II, much less do so in nearly three hours of master ‘s or test of patience, as spectators.
“Saving Private Ryan” ( Steven Spielberg , 1998): The Normandy landings, if already famous in the annals of World War II, reached a second historical record with the hyperrealistic recreation of Spielberg, who showed in color and pornographic proximity entire visceral disgust saved in “Schindler’s list” (1993). Just for that sequence, choreography great example of budget -e imitated ad nauseum in successors who have triedadd new fancy stuff, like plane Uncut Beach Dunkirk in “Atonement: Beyond Passion” ( Joe Wright, 2007) – Spielberg became imperative what had already been counted in hundreds of previous occasions. After that, a search of the famous story of missing soldier ( Matt Damon ) after the Nazi line, whose whereaboutsnot as decisive as the struggle of professional and personal ties that tookin the squad was looking. And that would not have workednot for the compact work of dissimilar actors joining forces and filing differences – Tom Hanks in the lead, followed by Vin Diesel , Paul Giamatti , Giovanni Ribisi , Edward Burnsand Barry Pepper , among others.
“Flags of Our Fathers” and “Letters from Iwo Jima” ( Clint Eastwood , 2006): The diptych Eastwood about one of the most iconic photographs of American History of the twentieth century, soldiers raising the flag of the bars and star Iwo Jima during World War II, he divided sides in favor of one orother. It was hardcapture that complementation input because Eastwood does not ceasebe a patriot and both the vision of his side as his empathetic effort with the opposite would suffer the burden of their ideals and testimoniesothers. The severity usually go Eastwood film director does not lack in both films: the first travels with the squad that was responsible for nailing the famous piece of cloth and returned home with an unwanted heroic title. The second gave the jump to the perspective of the Japanese army, whose language was shot in full, so that the increased risk of filmmaker wasoffer a large study subtitle a film needed for distribution inUnited States. The two had their profundity endowed characters, moments of overwhelming horror and hope splashing as bullets and blood. It was easier note from the Japanese side due to very recent examples of saturated privates film about American soldiers in that conflict, but everyone will find the reasons why the same story deservedbe told from two imperfect reflections.
“Enemy at the Gates” ( Jean-Jacques Annaud , 2001): Expert in extensive epic tales, Annaud used World War II as distant drum for “Seven Years in Tibet” (1997), but the sound was much more attractive to remove to front line. Given its romanticism, the director could not stop narrating a love triangle between a soldier ( Joseph Fiennes ), a propagandist ( Jude Law ) and an interpreter ( Rachel Weisz ) Soviets. Surprisingly, the sentimental friction bravura and interest added to the typical scenarios of confrontation between snipers, whose philosophy was also portrayed through some imprint of Far West. Again, as with many other companions of generation, it weighed critical recognition of the first visual pikes were several previous films. But even without discovering anything new shipwreck managedavoid another script of love and war with an efficient and continuous melancholy narrative, which finds no relief.
“Rescue Dawn” ( Werner Herzog , 2006): The alienating feeling of routine military becomes absolute loss on foreign territory. It was not the first disoriented soldier, after a knockdown in the area of those against whom fighting, but Herzog knows thoroughly the mechanisms of cruelty and human endurance, often tighten up its peak strength in each of his films . In this case, the pilot Odyssey ( Christian Bale ) rowed against his fate after the fatal plane crash that flew over Laos, and that leads to torture, imprisonments and asphyxiation of that jungle disorienting and alienating.Regardless of formal mannerisms and elaborate sequences, Herzog told a story of old – fashioned war, in which raw struggle for life on the anti – war attempts. For if in the heat of battle every soldier thinks about his own skin, they are equally obvious films centered on the individual as a laborer who wishes only to leave the board, without stopping to see, judge and condemn the rules that govern it .
“Stalingrad” (Joseph Vilsmaier, 1993): Hollywood and European cinema seem to optical Allied and Nazi and Soviet spheres as a separation of goods had been distributed: everyone what he loves and what that history belongs .The Vilsmaier German, who later addressed the almost inescapable theme of the Holocaust in “the last train to Auschwitz” (2006), recovered the harsh conditions of the Battle of Stalingrad in 1942, lived from the point of view of a German battalion. Following the guidelines of the Hollywood blockbuster, the film had ensemble cast, setting and curve costly events spread between waiting times and collective injustice. It emphasized by the crudeness of the disaster which led to the German, frozen and devastated army, and narration, little lavish display of Nazi Germans stereotyped as out of control.A European contribution nineties to match, although initially a project was never carried out by the great Sergio Leone .
“Black Hawk Down” ( Ridley Scott , 2001): Ridley Scott’s mood by playing every possible sticks it approached the war-later the historic war in “The Kingdom of Heaven” (2005), which had already employed the Napoleonic background in “the Duellists” (1977) -. The war understood as screen action, as the elite Navy SEALs appeared before “Act of Valor” in “GI Jane” (1997), or Demi Moore showing female mimicry in pavilions of testosterone. Built from the rhythmic patterns of war game and emerging camera-witness in street assaults, it focused on the film Black Hawk helicopters and real events. No personal dramas or especially complex developments in the relationship between the members of the troop, pulling a thread of survival limit, which pursues the highest possible realism faces of stars that break that goal, as Orlando Bloom , Josh Hartnett , Ewan McGregor and Eric Bana.
You run without weapon or trunk protector toward the enemy line seems less suicidal titles epitomize the war spread from “Apocalypse Now”. As for their number, variety and thematic qualitative aspects, which feed on various battalions of troops a war of global dimensions never seen. And they will miss essential films, however, deviate from pure warmongering military -those walks between Crusaders and false calm chichas- fires. For its collateral nature about a conflict and which deserve a separate treatment, are the concentration camps of “Empire of the Sun” (Spielberg, 1987) or“Katyn” ( Andrzej Wajda , 2007) or crimes against civilians in “City of life and death” ( Lu Chuan , 2009).