Somewhat powerful but very important look on how Vietnam affected even those from the very small areas of society.

Rating: 8/10 (9 April 2008)

I suppose The Deer Hunter's basic three act structure is a fairly basic and easy thing to spot, but the film makes full use of it in the long run. Such is the power and the eeriness of this film, it was not until a few days after I had seen it that the film began to strike a cord with me. Yes, I saw it; really enjoyed it and when the climactic scene came and went, it was heart breaking but at the time I could not accept that it had just happened. Fast forward three or four days later, re-visit the theme tune as produced by Myers/Williams and actually think about what had transpired and it is a shocking and unpleasant feeling that dawns on you.
The Deer Hunter at its very core is an obvious commentary on how the Vietnam War as a whole destroyed the people who fought in it. The film is about how the war arrived just when so many people were getting in right and were enjoying themselves without a care in the world right until something as unnecessary and as brutal as the war comes along to destroy it. When Michael (De Niro), Steven (Calzale) and Nick (Walken) finish their front line duty in 'Nam, their lives are changed; so much so that despite being home or at least within the boundaries of a space that is not the war itself, they cannot or find it difficult to re-adapt  Nick for psychological reasons, Steven for physical reasons and Michael just about gets by, but he is still haunted by the actions of his clumsy and now apparent immature friends.
And so it is at this point that I give an opinion that will seem insulting and derogatory but is just a humble observation; The Deer Hunter viewed now, structurally, resembles that nasty little horror sub-genre called 'torture porn'. Maybe it is the recent spate of films of this sub-genre, but The Deer Hunter begins with utopia (at least for the characters) before descending into Hell and then ending with a reprieve as well as having to come to terms with what has happened once you were dragged from your utopian haven. For the first third, the characters that are the steel workers are happy and carefree with frequent trips to the bar and jokes with fellow co-workers the enjoyable level of their lives. This sequence feels warm and it feels friendly, lulling us into a false sense. Then there is the wedding; supposedly the happiest moment of anybody's life and once again, the dizziest high achievable is shown and exploited in the opening third  it can only go down from here. Then there is the eerie way Nick and Michael seem to gamble; they gamble on the football game on TV but they gamble with their lives when they undertake a truck on the road  this toying with fate and their lives echoes in future scenes, but it will mature them in the nastiest way possible.
There is also the attitude the characters have toward the wedding; this is where The Deer Hunter edges toward the brink of being political. The manner in which the guys fool around and treat a big deal like the wedding in such a carefree manner might be echoing America's methods of dealing with the Vietnam War; 'underestimation' the key word here. But this works both ways, it can be a political statement but it can also act as a brilliant sentimental set up. I especially liked the scenes in which the guys sing to the music and play pool at the same time; it is something most men have done, play pool, whilst the apparent unnecessary action may be questioned; after later events it is something the guys will not be able to partake in ever again  enjoy it and do not question it while it lasts because one day, it may be an impossibility.
Then onto the second act and the war itself in which buildings are eviscerated and people are killed. Michael must torch someone alive with a flamethrower and march about seeing other such Americans lie in waste as a result of gunfights. But the capture and the subsequent 'torture' of the protagonists is what people remember the film for. The scenes work because you don't want these characters to be slapped about, treated this way and be shot. True, the 'evil' Vietnamese and the 'good' and innocent Americans are categorised here but I do not feel the representation can be criticised if it is a war zone in which the events are set, with two sides warring with one another. This roulette sequence important because it plays a large role in Nick's future mentality; the scene when he breaks down in hospital is perhaps a realisation of what he went through and for some reason, he must constantly face these demons in future roulette games.
When said people do make it home, it is not the fun and games it was. Axel (Aspegren) and Stan (Cazale) are waiting there, no surprise the film did not bring the two least likable guys along with them to the war, and no surprise Michael gets agitated with them when he does, especially when Stan shows off his revolver. The Deer Hunter further intrudes into the political when it includes, I believe to be, real life images and footage of news reports during the war amongst the action. But the film will remain strong and haunting enough for time to age it in that powerful and important manner.