Uncommon Valor (1983)

Uncommon ValorHere’s a trivia question for you. Are there more movies about the Vietnam War, or more movies about rescuing Vietnam War POWs? With the Rambo movies, the Missing in Action flicks and others, there were plenty of the latter. Lost in the shuffle at times is an underrated war film from 1983, Uncommon Valor.

It’s 1982 and after 10 years of one frustrating roadblock after another, retired U.S. Marine Colonel Jason Rhodes (Gene Hackman) has finally had a breakthrough. His son, Frank, was captured in Vietnam in 1972 and has been missing in action ever since. Rhodes finally has been able to gain military intelligence that his son — and other missing Americans — are being held at a prison camp in Laos. Assembling a small team of specialists, including several members from Frank’s old unit, Rhodes begins to plan a dangerous mission into Laos to rescue the long missing Americans. The odds are stacked heavily against him, but for Rhodes, it’s been too long. Something needs to be done.

Where Rambo: First Blood Part II and the Missing in Action movies are basically thinly-veiled excuses for Sylvester Stallone and Chuck Norris to kill people in a variety of gruesome fashions, ‘Valor’ goes for a more straightforward, no frills approach. It’s the better for it. It doesn’t try too hard to pander to viewers, simply laying things out and going from there. Director Ted Kotcheff turns in a good one here, a film audiences went out to see in droves in 1983.

So if you’re new to movies, Gene Hackman is the Man. He’s always awesome, always able to play a variety of characters. His Col. Rhodes is the glue of ‘Valor,’ a career military man who’s tortured by the memory of his son. Is he alive? Dead? Why is nothing being done to bring him — and other prisoners — home? It’s a subtle part, mostly underplayed, as he holds his team together, all in hopes of them working together to accomplish something truly worthwhile. The sacrifice involved, well, that becomes the issue. Like in ‘Saving Private Ryan,’ is it worth to save a life if it costs several more to get the job done? A solid leading part for Hackman.

In the men-on-a-mission angle, ‘Valor’ borrows from The Dirty Dozen and The Magnificent Seven and many others. Assemble the team, train them and unleash them on their mission. If the recipe ain’t broke, why fix it? Right?!? There are some cool parts amongst the team, including Wilkes (Fred Ward), the hand-to-hand combat specialist and tunnel rat, Blaster (Reb Brown), the explosives expert, Sailor (Randall ‘Tex’ Cobb), the burned out fighter, Scott (Patrick Swayze), the weapons trainer, Johnson (Harold Sylvester) and Charts (Tim Thomerson), the helicopter pilots, Jiang (Kwan Hi Lim, a Hawaii Five-O regular), a black market operator and trail guide, and Lai Fun (Alice Lau), Jiang’s more than capable daughter. A fun, oddball, rag-tag group to fill out the team!

I’ve always been a fan of this one. It doesn’t rewrite the genre, but it doesn’t need to. ‘Valor’ gets its message across without being heavy-handed in its delivery, especially as we get to know these Vietnam vets and the struggles they’re going through. A potentially suicidal mission into Laos? Yeah, maybe that’s the redemption they need, or at least some sort of closure. The forming of the team and the training sequences are excellent, but the best is saved for the chaotic attack on the POW camp in the final act. A big twist in the final minutes, as well as some surprises with who makes it out and who doesn’t.

Not a classic, but an excellent flick, especially its unsettling, almost wordless opening sequence set in 1972 Vietnam. Also look for Robert Stack as MacPherson, Rhodes’ payroll and financial backer who’s also hoping to reunite with his son, also believed to be a POW in Laos. Well worth tracking down/watching.

Uncommon Valor (1983): ***/****



The Hunting Party (1971)


The history of the western genre took quite a turn in the late 1960’s with the growing popularity of the spaghetti western. Sam Peckinpah took things one step further with his classic, extremely violent western, 1969’s The Wild Bunch, setting the genre on its way to a revisionist decade that looked at the American west with a more honest, cynical eye. Then, there’s 1971’s The Hunting Party, a western that defies descriptions or labels. Brace yourself for this one.

A cattle baron with few if any equals, Brandt Ruger (Gene Hackman) is leaving his ranch to go on a two-week hunting trip with four wealthy friends of his. His wife, Melissa (Candice Bergen), will be left behind at the ranch, but that changes in a flash. Not long after Brandt leaves on a luxurious train, Melissa is kidnapped by an infamous outlaw, Frank Calder (Oliver Reed), and his gang of 20-plus bandits. She desperately tries to escape time and time again, but Calder is always there to stop her, not to mention holding his men off from raping her. It’s down the trail that Brandt receives the news of his wife’s kidnapping. He has a plan, an altered hunting trip. Outfitting his friends with newly-fitted telescopic rifles, Brandt intends to ┬áhunt the gang down one-by-one from a distance. Safe, right? What about his intentions with his wife?

Well, I’m usually not one to struggle with describing a western. I can typically find something redeeming about any western from a big epic to a low-budget B-movie. This 1971 western from director Don Medford is surreal at times, horrifically violent, cynical, downbeat, masochistic, slow-moving, uncomfortable and a whole lot of other adjectives I’d use if I could just find my thesaurus. It isn’t a good western or one I particularly enjoyed (even a little), but I’ll give credit where it is due. This is a ballsy western. It’s fascinating to watch, albeit in incredibly dark fashion. Recommended for die-hard western fans only, but my goodness, what a movie.

One of the biggest changes to hit the western in the 1960’s was the farewell to traditional good guy vs. bad guy stories. More anti-heroes came along, gunfighters and cowboys who found themselves somewhere in between. By the 70’s though, even anti-heroes were used less and less. Here in ‘Hunting’? There’s NOTHING but bad guys. No character is even remotely sympathetic, much less likable. Reed’s Calder oddly enough becomes the most sympathetic character (however little that sympathy is) only because everyone around him is so despicable. You’re actually rooting for no one. Not one character! The story gives no reason to, and even Bergen’s Melissa makes some inexplicable decisions, seemingly for the sake of the story moving along.

The cast certainly helps keep things interesting through the gory violence, masochistic tendencies and slow-moving story (winning trio, huh?). Reed’s Calder is a fascinating character, an outlaw who kidnaps a woman he thinks is a schoolteacher because he’d like to learn to read. As his gang is picked off from long range, he begins to unravel. He’s helpless, a pawn in someone’s rifle sights. A moody, physical part, one Reed handles nicely. Hackman’s Brandt becomes the villain, a man rich with everything in life who thinks only of himself, of his pride, of his reputation. He’s not worried about his wife’s well-being but instead how the kidnapping and repercussion will make him look. Bergen throws herself into the mix, but the script does her no favors in the process. Her actions are odd to inexplicable depending on the scene.

Western fans won’t be disappointed in the supporting cast backing up our lead trio. Calder’s gang includes Mitchell Ryan as Frank’s right-hand man, Doc, L.Q. Jones, William Watson, Rayford Barnes, and Richard Adams. For the most part, the gang is nameless fodder for Brandt’s hunting party. Brandt’s friends and fellow riflemen include Simon Oakland, G.D. Spradlin, Ronald Howard and Bernard Kay.

It’s not that ‘Hunting’ is one of the most violent westerns I’ve ever seen. It’s that it seems to revel in its violence. It has echoes of a snuff film, of an exploitation film, of graphic violence meant solely to shock. The opening scene shows a cow’s throat being graphically cut. No CGI. It happened. Once Brandt and Co. go on the hunt, it’s a series of long-range shooting with heavy-caliber bullets tearing men apart. Head shots and body shots and squibs galore with blood and rain matter all over the screen. In The Wild Bunch, the violence was on par with what we see here, but it made an emotional impact. That’s not so here. ‘Hunting’ wants to push the boundaries and keep on pushing for the sake of doing it. There’s no end-game in sight. The Missouri Breaks would use a similar storyline with the capability of long-range rifles five years later.

Unfortunately, that feels like the whole point of the movie. Brandt rapes Melissa in their opening scene and later tortures a prostitute by burning her with a lit cigar. Calder’s men want nothing more than to have their way with Melissa. Calder himself ends up raping her instead. Pleasant, right? Things never let up in a western that runs about 110 minutes. It’s exhausting and because there’s no real connection — other than wishing horrible things upon certain characters — with characters, the story moves at a slow, deliberate pace. So much negative in a film that with some tweaks (rather aggressive tweaks I guess) could have been infinitely better. Similar storylines have been tackled in The Professionals, Big Jake, The Last Outlaw, The Naked Spur and many others.

Some positives? Sure, there’s a few. ‘Hunting’ was filmed on-location in Spain with countless familiar backdrops from spaghetti westerns dotting the scenery. It’s a dreary, dusty and sweaty world but the visual backdrops can be beautiful with a variety of terrain from sandy deserts to a desert oasis to tree-capped mountains. Also, Riz Ortolani‘s score is haunting in a good way in helping bring the slow-moving story to life. Listen to the main theme HERE.

I can’t outright recommend this 1971 western because it simply isn’t very good, but as I mentioned, it is horrifying and fascinating throughout. The solid cast, the location shooting and a memorable soundtrack ever so slightly outweigh the immense negatives in this horrifically morbid revisionist western.

The Hunting Party (1971): ** 1/2 /****