Platoon Game
Jupiter Fuerst
Stone wrote the screenplay based upon his experiences as a U.S. infantryman in Vietnam, to counter the vision of the war portrayed in John Wayne's The Green Berets. Although he wrote scripts for films such as Midnight Express and Scarface, Stone struggled to get the film developed until Hemdale Film Corporation acquired the project along with Salvador. Filming took place in the Philippines in February 1986 and lasted 54 days. Platoon was the first Hollywood film to be written and directed by a veteran of the Vietnam War.[3]
Upon its release, Platoon received critical acclaim for Stone's directing and screenplay, the cinematography, battle sequences' realism, and the performances of Sheen, Dafoe, and Berenger. The film was a box office success upon its release, grossing $138.5 million domestically against its $6 million budget, becoming the third highest-grossing domestic film of 1986. The film was nominated for eight Academy Awards at the 59th Academy Awards, and won four: Best Picture, Best Director for Stone, Best Sound, and Best Film Editing.
In 1998, the American Film Institute placed Platoon at #83 in their "AFI's 100 Years ... 100 Movies" poll. In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[4][5][6]
In 1967, U.S. Army volunteer Chris Taylor arrives in South Vietnam and is assigned to an infantry platoon of the 25th Infantry Division near the Cambodian border. Though the platoon is officially under the command of the young and inexperienced Lieutenant Wolfe, the soldiers instead defer to two of his older and more experienced subordinates: the cynical Staff Sergeant Barnes, and the more compassionate Sergeant Elias.
Taylor is deployed with Barnes, Elias and other experienced soldiers for a night ambush on a North Vietnamese Army force. An NVA patrol appears, leading to a brief firefight. Taylor is wounded while another new recruit, Gardner, is killed. Upon his return to base from the aid station, Taylor bonds with Elias and his circle of marijuana smokers while remaining distant from Barnes and his more hard-edged followers.
During a subsequent patrol, two soldiers are killed by a booby trap and another by unseen assailants. Already on edge, the platoon is further angered when they discover an enemy supply cache in a nearby village. Barnes aggressively interrogates the village chief about whether the villagers have been aiding the NVA, and kills his wife when she confronts him. He then demands information from the chief while holding a gun to the head of the man's young daughter. Elias arrives and, disgusted with Barnes, attacks him. Their fistfight is broken up by Wolfe, who orders the supplies destroyed and the village razed. Wolfe feigns ignorance when Elias accuses him of not stopping Barnes. Taylor later prevents two girls from being gang-raped by some of Barnes' men.
Back at base, Taylor attempts to talk his group into fragging Barnes in retaliation when Barnes, having overheard them, enters the room and mocks them. Taylor then assaults Barnes but is quickly overpowered, and Barnes cuts Taylor near his eye with a push dagger before departing.
The platoon is sent back to the front line to maintain defensive positions, where Taylor shares a foxhole with another soldier named Francis. That night, a major NVA assault occurs, and the defensive lines are broken. During the battle, much of the platoon, including Wolfe and most of Barnes' followers, are killed, while an NVA sapper destroys the battalion headquarters in a suicide attack. Now in command, Captain Harris orders air support to expend all remaining ordnance inside the perimeter. In the chaos, Taylor encounters Barnes, who has been seriously wounded. Just as Barnes is about to kill Taylor, both men are knocked unconscious by an air strike.
Taylor regains consciousness the following morning, picks up an enemy rifle, and finds Barnes slowly crawling along the ground. Barnes orders him to call a medic, but Taylor does not respond. After daring Taylor to kill him, Barnes is shot dead by him. Francis, who survived the battle unharmed, deliberately stabs himself in the leg and reminds Taylor that because they have been twice wounded, they can return home. As a helicopter carries the two men away, Taylor waves goodbye to Rhah. Sgt. O'Neill, a Barnes lackey who hid under a dead body during the battle, is given command of the rest of the platoon. Overwhelmed, Taylor breaks down sobbing as he flies over multiple craters full of corpses, narrating how the war has changed him forever.
"Vietnam was really visceral, and I had come from a cerebral existence: study ... working with a pen and paper, with ideas. I came back really visceral. And I think the camera is so much more ... that's your interpreter, as opposed to a pen."
The seeds of what would become Platoon began as early as 1968, months after Stone had completed his own tour of duty fighting in Vietnam. Stone first wrote a screenplay called Break, a semi-autobiographical account detailing his experiences with his parents and his time in the Vietnam War. Stone's active duty service resulted in a "big change" in how he viewed life and the war. Although Break was never produced, he later used it as the basis for Platoon.[7] His screenplay featured several characters who were the seeds of those he developed in Platoon. The script was set to music from The Doors; Stone sent the script to Jim Morrison in the hope he would play the lead. (Morrison never responded, but his manager returned the script to Stone shortly after Morrison's death; Morrison had the script with him when he died in Paris.) Although Break was never produced, Stone decided to attend film school.[7]
After writing several other screenplays in the early 1970s, Stone worked with Robert Bolt on the screenplay, The Cover-up (it was not produced). Bolt's rigorous approach rubbed off on Stone. The younger man used his characters from the Break screenplay and developed a new screenplay, which he titled Platoon. Producer Martin Bregman attempted to elicit studio interest in the project, but was not successful. Stone claims that during that time, Sidney Lumet was to have helmed the film with Al Pacino slated to star had there been studio interest.[8] But, based on the strength of his writing in Platoon, Stone was hired to write the screenplay for Midnight Express (1978).
The film was a critical and commercial success, as were some other Stone films at the time, but most studios were still reluctant to finance Platoon, because it was about the unpopular Vietnam War. After the release of The Deer Hunter and Apocalypse Now, the studios then cited the perception that these films were considered the pinnacle of the Vietnam War film genre as reasons not to make Platoon.[7]
De Laurentiis secured financing for Platoon, but he struggled to find a distributor. Because De Laurentiis had already spent money sending Stone to the Philippines to scout for locations, he decided to keep control of the film's script until he was repaid.[7] Then Stone's script for what would become Salvador was passed to John Daly of British production company Hemdale. Once again, this was a project that Stone had struggled to secure financing for, but Daly loved the script and was prepared to finance both Salvador and Platoon. Stone shot Salvador first, before turning his attention to Platoon.[7]
James Woods, who had starred in Stone's film Salvador, was offered a part in Platoon. Despite his friendship with the director, he turned it down, later teasingly saying he "couldn't face going into another jungle with [Oliver Stone]". Denzel Washington expressed interest in playing the role of Elias,[9] a character Stone said was based on a soldier he knew in Vietnam.[10] Stone confirmed in a 2011 interview with Entertainment Weekly that Mickey Rourke, Emilio Estevez and Kevin Costner were all considered for the part of Barnes. He believes Costner turned down the role "because his brother had been in Vietnam." Stone also verified in the interview that Keanu Reeves turned down the role of Taylor because of the violence.[8] Kyle MacLachlan also turned down the role of Taylor.[11] Sheen said that he got the part of Taylor, because of Dafoe's nod of approval.[12] Jon Cryer auditioned for the role of Bunny.[13]
Stone makes a cameo appearance as the commander of the 3d Battalion, 22d Infantry in the final battle, which was based on the historic New Year's Day Battle of 1968 in which he had taken part while on duty in South Vietnam. Dale Dye, who played Captain Harris, the commander of Company B, is a U.S. Marine Corps Vietnam War veteran who also served as the film's technical advisor.[15] The third US Army veteran who appears in the film is a member of the crew who was briefly seen shirtless in the climactic battle.
Exterior shooting began on the island of Luzon in the Philippines in February 1986, although the production was almost canceled because of the political upheaval in the country, due to then-president Ferdinand Marcos. With the help of well-known Asian producer Mark Hill, the shoot commenced, as scheduled, two days after Marcos fled the country.[16] Shooting lasted 54 days and cost $6.5 million. The production made a deal with the Philippine military for the use of military equipment.[7] Filming was done chronologically.[17]
In 1986, a novelization of the film script, written by Dale Dye, was published.[22] In 2018 actor Paul Sanchez, who played Doc in the movie, made a documentary about the making of the film, entitled Platoon: Brothers in Arms.[23][24]
The film score was composed by George Delerue.[25] Music used in the film includes Adagio for Strings by Samuel Barber, "White Rabbit" by Jefferson Airplane, and "Okie from Muskogee" by Merle Haggard (which is an anachronism, as the film is set in 1967 but Haggard's song was not released until 1969). During a scene in the "Underworld", the soldiers sing along to "The Tracks of My Tears" by Smokey Robinson and The Miracles, which was also featured in the film's trailer. The soundtrack includes "Groovin'" by The Rascals and "(Sittin' On) The Dock of the Bay" by Otis Redding.
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