The characters are mostly one-dimensional which is expected. I would have liked more from the Vietnamese side especially their strategy. They are basically the cannon-fodder Indians in an old western. I don't like one specific montage and a few acting choices. Of course, the fight ends with the cavalry arriving at the nick of time. Quite frankly, this movie relies on a few too many old Hollywood war movie tropes.
This is pretty solid. SnoopyStyle Nov 19, Details Edit. Release date August 8, Australia. Official site Official site Japan. English Vietnamese. Kingaroy, Queensland, Australia. Box office Edit. Technical specs Edit.
Runtime 1 hour 58 minutes. Related news. Jul 22 DailyDead. Nicholas Hamilton hits the ground running following return to Australia. May 25 IF. Contribute to this page Suggest an edit or add missing content. Top Gap. Commemorative storytelling in Australia tends to valorise tactical confrontations - individuals and small units engaging in direct hostilities to defeat enemies and hold terrain.
Danger Close is emblematic of this type of narrative. But this attachment to decontextualised small unit actions might not always be the best way forward for understanding conflict on a personal or political level. This kind of work acknowledges a new sense of military common purpose in Asia, which will only grow in the future. We are headed towards an era of Accelerated Warfare likely to occur in complex mega-cities and the cyber domain, and a new environment of political warfare.
The Australians who participate in these new kinds of wars deserve to see the Anzac myth expand to meet their experiences and new kinds of service. In this urgent context, arguably Danger Close has missed a great opportunity. The film repeats disputed facts and interpretations, while the emotional force of its compelling story risks cementing in Australian culture this version as the only view of Long Tan.
But how do we want to frame the stories we tell ourselves as we face a complex, uncertain future in our region? Commemorative storytelling is essential to heal wounds of the past. But Australian culture must begin to frame war stories with an eye to the present and future too.
This article is republished from The Conversation under a Creative Commons license. Read the original article. Skip to main content. Opinion Danger close? Long Tan deservedly has a place in the pantheon of Anzac history. It is a tale of extraordinary bravery, fortitude and coolness under pressure and a phalanx of strong personalities.
Vietnam veterans have long been caught in a struggle between a nation divided over an unpopular conflict, and the reluctance of our official culture to recognise their professionalism and bravery. In Danger Close, producer, and former reservist Martin Walsh , Hollywood blockbuster writer Stuart Beattie and auteur of precise and visceral emotion Kriv Stenders Boxing Day, Red Dog have created a film that combines attention to military detail and emotional intensity with a conventional cinematic narrative arc and characterisation.
Vietnam movies as a cinematic genre have evolved over decades in the United States. Danger Close is most closely associated with the memorialising genre of films like Platoon In such films, the battleground is imbued with religiosity - this helps reconcile the act of private remembering with more public notions of commemoration and sacrifice, in a healing way.
When I saw Danger Close in Canberra, the audience reaction reflected the kind of public ritualism most often seen on Anzac Day. There was a mood of profound, reverential, collective silence broken only by applause as the credits rolled. No one doubts the bravery of the men who fought at Long Tan, and the respect they are due. But the film repeats some statistics that are the subject of considerable debate.
The failure to acknowledge this debate obscures the complexity of the battle, and the military skill on both sides.
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