Let it be known that Robin Williams is a multi-faceted talent

Rating: 9/10 (8 September 2014)

Good Morning, Vietnam has the uncanny ability to surprise. At around the hour mark, I was convinced that the film, while funny and impossibly kinetic and energetic in tone and performance, was solely sticking to this act of energy, while maybe touching but not capitalizing at the apparent possibility of an emotional subplot. Sure enough, director Barry Levinson and writer Mitch Markowitz manage to work in a seriously believable and touching bout of sentimentality to a picture so manic one doubts that it could possibly fit comfortably inside of it. The film is the perfect blend of manic, disposable energy and tender drama that it becomes a film to seriously commend in many different departments.
Robin Williams is at the film's core as Airman Second Class Adrian Cronauer, who arrives in 1965 Saigon to work as a DJ for the Armed Forces Radio Station. He meets and takes a liking to the straight-laced and genial Private First Class Edward Montesquieu Garlick (Forest Whitaker), who also takes a liking to Cronauer after seeing what the man can do with a microphone and a broadcasting signal. Cronauer's radio broadcast, contrary from the archetypal and uninspired transmissions the bases were used to hearing, are irreverent and fun, with lively bursts of energy and unpredictable wit coming directly from the mind of its radio DJ. This leads him to be immensely controversial with his peers. However, Cronauer becomes supported and rejoiced by his students who attend his English language learning class on a frequent basis, proving that while he does things differently, the man has the incredibly ability to connect and to inspire.
It should be dually noted that Williams exercised the practice of improvisation while performing his wild-and-out radio shows in Good Morning, Vietnam, for it shows extreme comic energy, timing, and capability. Williams indefatigably, zealously delivers monologues of true power during his radio shows, zipping by with unprecedented comedic speeds, with jokes so sneaky and quick that you're bound to miss at least a few. His character Cronauer doesn't even a cohost for his radio show, as he is the sole provider of such indescribable energy and fun in the film.
Furthermore, Williams works to illustrate Markowitz' more sentimental and emotional second half, which isn't as emotionally manipulating as one would expect. Rather than carelessly paint a second half so somberly, immediately following a goofy but thoroughly enjoyable first half, Markowitz carefully constructs scenarios and characters for us to latch onto as likable souls victim to a senseless, brutal war. After an hour of Williams' rampant comedic delivery, despite it being incredibly enjoyable, I was expecting the entire film to only vaguely come to an emotional or even dramatically investing second half. As Markowitz goes on, however, he totally creates a wonderful climax and conclusion to the film.
In addition, let it be known that Williams works tirelessly to detail the emotions necessary for the film to succeed. He transitions ever-so naturally from manic energy to humble and sentimental, effectively but commendably illustrating a drastic divide in emotions so beautifully. The performance at hand rightfully earned him an Oscar nod and affirmed a potentially skeptical audience of Williams' incredible on-screen energy.
Starring: Robin Williams and Forest Whitaker. Directed by: Barry Levinson.