Battleground

Battleground

Don’t ever let anybody tell you you were a sucker to fight in the war against fascism.

Seeing as this is still the very-near post-WWII years, war films are certainly not going away anytime soon. I’d previously had to sit through Twelve O’Clock High for this year, and I’d lamented how realistic it was at the expense of things like entertainment. Well, it looks like I’m eating my words a little sooner than I’d have cared for. Battleground is the other war film in the nominees this year, and while Twelve O’Clock High got by with being a much more documentary-style telling of a portion of the war effort, Battleground swings wholly in the other direction with a war tale told as campy as it possibly can be.

In terms of true events, Battleground is the story of the weary survivors of the siege of Bastogne in Belgium, part of the overarching Battle of the Bulge; specifically, how the men at Bastogne held out in a war of attrition against all German opposing efforts to make sure the Krauts didn’t lock up the coast at Antwerp to deny the Allies the offensive they wanted. In movie-form, Battleground is the story of the 101st Airborne Division members who wind up as infantry at Bastogne, and how they specifically get by during the siege. This would seem to be a harrowing and fraught tale ripe for cinematic adaptation (and only half a decade after the real events took place to boot), but this is Hollywood, and it seems even they can’t resist making this into a smarmy, slap-happy show piece to fit in with all the other such films it produces each year. The opening few minutes, for instance, features a regiment of men not so much marching drills as choreographed march-dances while a handful of them and others watching play off dialogue like they are very much actors very much playing instead of men at war. Literally every aspect of this film is a caricature of what it should be; all the dialogue and staging has so much of that fake, sing-songy, stagey quality to it that it became impossible to suspend disbelief to care about anything that was happening or might happen. Every character is either identical to all the others or only distinguishable by a single notable characteristic; the one constantly clicking his dentures, the one mixing his eggs in his helmet while they patrol, the one with a Southern dialect and accent so strong no reasonable moviegoer in any timeframe could plausibly believe he was an actual real person and not a song-and-dance man. Admittedly, the musical high-and-flighty mood does eventually grow more dour as the film goes on and the boys’ situation gets worse and worse, but by then the film is so committed to its snarky, wisecrack dialogue that it doesn’t feel like the film’s intention with this change of mood comes across in any way. At least the production itself is actually pretty thorough, and it’s rare to see a war film of this type spend so much time in the dead of winter, with the weather directly having a toll on the characters as well, so I appreciated that at least.

I’m actually a little disgruntled thinking about this film. If this is actually the style and type of Hollywood film I’ve been watching up to now, and I’ve been enjoying it this whole time… what changed about this, then? Or is this the aberration, the mainstream Hollywood-style flick that Best Picture has thankfully been largely free of until this year? I’m hoping it’s the latter, because I really don’t know what would have been different today during my watch of Battleground if it is indeed the former. If this is also an indicator of how potential future nominees like this are going to worm their way into this field, I’m not looking forward to it. In fairness, I’m probably making this film seem worse than it really is, but there were just so many moments during this that I actually cringed or rolled my eyes that it became a chore to make it through to the end instead of a surprise find or enjoyable experience. Battleground will probably strike a chord with a good number of moviegoers; it did somehow end up the year’s second-highest-grossing film, after all. I just can’t count myself among that particular crowd.

Arbitrary Rating: 6/10

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