Over half a century later, many would think that cinema has run its course with the Vietnam War. After all, who could top the masterpieces of harrowing achievement like Apocalypse Now and The Deer Hunter? Even on the home front, you had films like Coming Home exploring the impact of soldiers when they returned to a divided nation, unable to appreciate their service because the war itself was divisive. This war in particular has inspired so many different takes due to the uncertain nature of events, where it was clear that a president was prolonging it for the sake of pity votes.
Though there is one group that hasn't really gotten their due. The Black soldiers who fought the war were placed into an especially interesting situation because it wasn't a straightforward attack. In the big picture, they had no skin in the game. This explains why figures like Muhammad Ali famously said that he wasn't going overseas, demanding others to see the racial war being fought at home. It is the area where Spike Lee's Da 5 Bloods takes place, eager to explore the legacy of a community who fought because they were told only to be left with even less respect than their white peers. It's an epic that comes with as much eagerness and frustration as you'd expect, but that doesn't make it any less urgent and timely, proving that there are still stories that need to be shared from the war.
Much like Lee's previous film BlacKkKlansman, he has found more value in putting his movie into a bigger context. Because of this, he has bookended the film not with elaborate opening numbers, but archival footage that places into context everything that will unfold over the next 2.5 hours. Most people will recognize these images, and they remain the most harrowing in the entire film. Following a scene where Ali comments that he'd rather go to jail, where he's been most of his life, the audience sees a collage of figures relevant to the era. From Richard Nixon giving speeches about the importance of war to scenes of brutality in Vietnam (warning: there are images involving murder and corpses). It's alarming by today's context, maybe even then, but it shows that no matter what Lee will do next, it cannot compare to the real-world atrocities and inhumanity that have been captured during a period not described as America's finest hour.
By the time that we're introduced to "da five bloods," there is such a spiritual blow for the audience that they will have an implicit understanding of their trauma. These images have only been with us for a few minutes, but it's clear that it's different for these veterans, who are all visiting Vietnam on a scavenger hunt of sorts. It's the first time that most of them have seen each other in many years, and their introduction alone reflects the antagonistic camaraderie that deages them immediately. They're quick to talk about how their lives have been, reflecting that few of them are all that well off. There are even parallels to modern politics in Paul's (Delroy Lindo) attire that involves a red "Make America Great Again" (MAGA) hat. The others make fun of him, as "President Fake Bone Spurs" copped his way out of the war with a fake doctor's note. Why should we trust a man who wouldn't follow orders?
From the word "Go" the film slowly begins to connect the dots, reflecting how the journey is of something greater. A whole life has been lived within this country, and it's more than a chance for a fun gold-hunting mission. It's a chance for Lee to comment on the entire history not only of the war but its depiction. During a walk through a village, they discuss how ridiculous films like Rambo were in depicting veterans in unrealistic ways against fictional villages. They discuss their own fantasy, wishing that they could see Black soldiers depicted in honest ways. This fantasy is a theme that will come true in the second act, as the film evolves from a Treasure of Sierra Madre motif into a full on rumble in the jungle. Without ever going over the top, Lee paints the jungle as the true heart of confrontation, and one that reflects his best periods of directing.
The gold is symbolic, serving more as an excuse to come to terms with the death of their friend Stormin' Norman (Chadwick Boseman), who never made it out. Together it's a cavalcade of political ideas coming to terms with each other, including a subplot involving French activists. What should be known is that the flashbacks are few and far between, though their intent becomes clear when the details start to emerge. A central moment involves hearing about the death of Martin Luther King Jr., leading Norman to question the value of fighting the war at all. When Black Americans can't even be safe at home, why should they go anywhere else to find danger? Along with references to other noteworthy activists (all presented in Powerpoint-style images), there is this sense that Lee is going for a bigger story. These are the voices that time has forgotten because they're not conventional, not willing to submit to standards that The Vietnam War narrative wanted to build.
Without revealing too much, the central portion is where the bulk of the running time is built. It's here that subjects like the opioid crisis butt heads with the general perception of America in Vietnam. A constant refrain throughout these scenes is "You killed my father!" This isn't true of any one soldier on that trip, but more the idea of America as this great evil. Lee isn't afraid to show the frustration that they too have carried, unable to forgive how they raided their homeland. Along with elaborate shootouts, the film becomes a recreation that may seem a bit abrupt and strange, especially given the dramatic tenderness that started the film. Da 5 Bloods feels like a couple of movies jammed together because, well, it needs to be. Lee has clearly watched every other masterpiece and wanted to see Black actors in those roles. He wanted to give them an image that was more than history is rewritten pandering like Quentin Tarantino. He wanted to have a more honest discussion.
Even if you think it only works half of the time, it delivers for that half in a way that reflects a filmmaker with a clear focus and urgency, desiring to take this as seriously as possible. Every frame comes with references to other films (notably Apocalypse Now), and the discussion pulls in these references as if it was a collegiate essay in such a way that you get the ultimate point of this film. It doesn't just do wish fulfillment. It's a chance to debate how Black Americans were seen in the light of a war that left many in distress. Even 50 years later, there's still an animosity there that has been reignited by a president who finds it acceptable to insult veterans who disagree with him and hasn't made their life any better. Why would you even believe in that country?
The film ends with a Martin Luther King Jr. comment about the Vietnam War, revealing that he was targeted by the F.B.I. and considered dangerous despite being a peaceful protestor. It's a simple enough statement and one that ties in with other Black Lives Matter images that show the struggle for self-worth in a society that still feels cruel. The fight continues on, only the war is now fought at home. As evident by the recent deaths of people like George Floyd, Breonna Taylor, and Robert Fuller (among an unacceptable amount), the fight still needs to continue and this bruising war that was always designed for white people to better their own needs, it made no sense why they had to be chosen, especially as pawns that never got the recognition they deserved.
Da 5 Bloods is a visceral journey into one of America's more notorious wars. Thankfully Lee has come with his Ph.D. in hand is ready to take his audience to task for the rich history not only of film but history when it comes to Vietnam War iconography. These are moments that shouldn't be forgotten but in a lot of senses, they have been by the general public. By giving this story light, it will hopefully raise questions and debates about how a whole generation is perceived. Sure it may be manic and not as streamlined as BlacKkKlansman but that doesn't make its urgency any less important. It's harrowing, excessive, informative, and a unique achievement from a filmmaker who is clearly on another hot streak. Let's hope it keeps going.
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