“Thou shalt not kill.”
—The Ten Commandments
“I don’t know how I’m gonna live with myself if I don’t stay true to what I believe.”
Like him or not, Mel Gibson has what it takes to direct a massive Hollywood picture. Hacksaw Ridge, his first directorial job in a decade, demonstrates that much—just in case earlier films like Braveheart, The Passion of the Christ, and Apocalypto didn’t.
Hacksaw Ridge depicts the remarkable and true story of Desmond Doss (Andrew Garfield), the Lynchburg, Virginia, Seventh-day Adventist who served as a medic in the U.S. Army during World War II. His story is unique: he enlisted, but as a conscientous objector for religious reasons. Refusing to kill or carry a gun, he rescued 75 or so wounded soldiers from the field during the Battle of Okinawa (http://www.collegedale-americanlegion.org/Pages/DesmondTDoss.aspx). President Harry S. Truman awarded Doss the Congressional Medal of Honor in 1945, the first time such a high accolade was bestowed upon someone who never even discharged a weapon (https://en.wikipedia.org/wiki/Desmond_Doss).
From a technical standpoint, Hacksaw Ridge is pretty awesome. The story is a good one. The battle scenes are clearly the centerpiece: they’re loud and extremely graphic. The prosthetics are spot on realistic. Cinematographer Simon Duggan starts out with warm, almost sepia tones in the early civilian scenes, but as the setting moves onto the battlefield he ditches color in favor of a washed out black, green, and white palette. Shaky closeups, slow motion shots, blurry pans, and quick cuts create a sense of confusion as gunfire and explosions and human carnage take over the screen. Hacksaw Ridge is no Son of Saul (https://moviebloke.com/2016/02/11/son-of-saul-saul-fia/), but it still overwhelms the senses albeit in a distanced, staged blockbuster way.
Otherwise, Hacksaw Ridge didn’t impress me all that much. At its core, it’s a standard-issue war movie complete with a sugary subplot about the girl, Dorothy Schutte (Teresa Palmer), waiting for Doss to hurry up and get back home so they can get married, and lots of humorous if mawkish male bonding through nicknames, insults, physical attacks, and simply having each other’s back. There’s a military court scene, trite “war is hell, boys” lines, soldiers who freak out once they get on the battlefield, likable characters who perish, and of course the superhuman heroic deeds of Doss.
Most character background is given hurried and superficial treatment: Doss’s alcoholic veteran father (Hugo Weaving) and his bad experience in World War I, Doss and Dorothy’s quick courtship, even the failed attempts of Sgt. Howell (Vince Vaughn) and Cpt. Glover (Sam Worthington) to persuade Doss to leave the Army. Too bad, because a little more insight could have made the film stronger. A particularly glaring example is brother Hal (Nathaniel Buzolic), who simply vanishes once he shows up at the dinner table in uniform. What happens to him? Did I miss it?
I’m conflcited on the message here, but I guess that’s okay because frankly Hacksaw Ridge is a conflicted film. Gibson maintains that it’s an anti-war statement (http://www.christianpost.com/news/mel-gibson-hacksaw-ridge-is-an-anti-war-movie-170318/). Fine, but that’s hard to believe considering the disproportionate amount of time and resources given to overblown battle scenes. I’m not sure the film honors Doss or his pacifist convictions. Moreover, what sure seems like a blatant parallel to the so-called religious liberty movement is, in my view, misguided and hollow, especially when Doss’s faith is treated more or less as incidental. Hacksaw Ridge sustained my interest, but I would have appreciated a little more depth.
With Luke Bracey, Darcy Bryce, Rachel Griffiths, Firass Dirani, Michael Sheasby, Luke Pegler, Nico Cortez, Goran D. Kleut, Harry Greenwood, Damien Thomlinson, Ben O’Toole
Production: Pandemonium Films, Permut Productions, Vendian Entertainment, Kylin Pictures
Distribution: Summit Entertainment (USA)