Page 191 - Cultural Theory and Popular Culture an Introduction

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Orientalism 175

in which the United States is centred and Vietnam and the Vietnamese exist only to
provide a context for an American tragedy, whose ultimate brutality is the loss of
American innocence. And like any good tragedy, it was doomed from the beginning to
follow the dictates of fate. It was something that just happened. Hollywood’s Vietnam
exhibits what Linda Dittmar and Gene Michaud call a ‘mystique of unintelligibility’
(1990: 13). Perhaps the most compelling example of the mystique of unintelligibility
is the opening sequence in the American video version of Platoon. It begins with a few
words of endorsement from the then chairman of the Chrysler Corporation. We see
him moving through a clearing in a wood towards a jeep. He stops at the jeep, and rest-
ing against it, addresses the camera,

This jeep is a museum piece, a relic of war. Normandy, Anzio, Guadalcanal, Korea,
Vietnam. I hope we will never have to build another jeep for war. This film Platoon
is a memorial not to war but to all the men and women who fought in a time and
in a place nobody really understood, who knew only one thing: they were called and
they went. It was the same from the first musket fired at Concord to the rice pad-
dies of the Mekong Delta: they were called and they went. That in the truest sense
is the spirit of America. The more we understand it, the more we honor those who
kept it alive [my italics] (quoted in Harry W. Haines 1990: 81).

This is a discourse in which there is nothing to explain but American survival.
Getting ‘Back to the World’ is everything it is about. It is an American tragedy and
America and Americans are its only victims. The myth is expressed with numbing pre-
cision in Chris Taylor’s (Charlie Sheen) narration at the end of Platoon. Taylor looks
back from the deck of a rising helicopter on the dead and dying of the battlefield
below. Samuel Barber’s mournful and very beautiful Adagio for Strings seems to dictate
the cadence and rhythm of his voice as he speaks these words of psycho-babble, about
a war in which more than two million Vietnamese were killed, ‘I think now looking
back, we did not fight the enemy, we fought ourselves. The enemy was in us’. Time
Magazine’s (26 January 1987) review of the film echoes and elaborates this theme:

Welcome back to the war that, just 20 years ago, turned America schizophrenic.
Suddenly we were a nation split between left and right, black and white, hip and
square, mothers and fathers, parents and children. For a nation whose war history
had read like a John Wayne war movie – where good guys finished first by being
tough and playing fair – the polarisation was soul-souring. Americans were fight-
ing themselves, and both sides lost.

Platoon’s function in this scenario is to heal the schizophrenia of the American body
politic. The film’s rewriting of the war not only excludes the Vietnamese, it also rewrites
the anti-war movement. Pro-war and anti-war politics are re-enacted as different posi-
tions in a debate on how best to fight and win the war. One group (led by the ‘good’
Sergeant Elias and who listens to Jefferson Airplane’s ‘White Rabbit’ and smokes mari-
juana) wants to fight the war with honour and dignity, whilst the other (led by the