The Green Berets (film)

Columbia Pictures, having bought the book's pre-publication film rights, was not able to produce a script that the Army would approve, while producer David L. Wolper, who also tried to buy the same rights, could not obtain financing to make the movie.[6] A screenplay was written by George Goodman who had served with the Special Forces in the 1950s as a military intelligence officer and had written a 1961 article about the Special Forces called The Unconventional Warriors in Esquire magazine.[7] Columbia sent Goodman to South Vietnam for research. Robin Moore felt the Pentagon pressured Wolper into breaking an agreement with Moore.[2] Wolper acquired the rights to film The Devil's Brigade, an account of the World War II 1st Special Service Force, in 1965 and produced that film instead.

The final film's origins began in June 1966 with a trip by John Wayne to South Vietnam, and his subsequent decision to produce a film about the Army special forces deployed there as a tribute to them.[8] Wayne was a steadfast supporter of American involvement in the war in Vietnam. He co-directed the film, and turned down the "Major Reisman" role in The Dirty Dozen to do so.

Although The Green Berets portrays the Vietcong and North Vietnamese Army as sadistic tyrants, it also depicts them as a capable and highly motivated enemy. The film shows the war as one with no front lines, meaning that the enemy can show up and attack at almost any position, anywhere. It shows the sophisticated spy ring of the VC and NVA that provided information about their adversaries. Like A Yank in Viet-Nam, it gave a positive view of South Vietnam and their anti-communist allies.

The US Army had objections to James Lee Barrett's initial script. The first was that the Army wanted to show that South Vietnamese soldiers were involved in defending the base camp. That was rectified. The Army also objected to the portrayal of the raid where they kidnap a NVA general because in the original script this involved crossing the border into North Vietnam.[9] Robin Moore has stated that while all of the other stories in his book are roman a clefs of actual Special Forces missions and incidents, the mission to capture General Ti was completely fictitious.[10]

Wayne wished the screenplay to have more development of the characters, but Warner Bros. made it clear they wanted more action and less talk, as The Alamo was heavily criticized for having too much dialogue. Scenes shot with Vera Miles as the wife of Wayne's character were jettisoned. (However, Miles was again cast as the Duke's wife in Wayne's next film Hellfighters).[11]

Much of the film was shot in the summer of 1967 (before the Tet Offensive) at Fort Benning, Georgia. Department of Defense cooperation with the film was extensive, with the United States Army providing several UH-1 Huey attack helicopters and a C-7 Caribou light transport. The United States Air Force supplied two C-130 Hercules transports and two A-1 Skyraider attack aircraft as well as film footage of an AC-47 Puff the Magic Dragon gunship and an HC-130 Hercules employing the Skyhook Fulton recovery system for use in the film. The Army also provided authentic uniforms for use by the actors, including the OG-107 green and "Tiger Stripe" Tropical Combat Uniform (jungle fatigues), with correct Vietnam War subdued insignia and name tapes.

John F. Schultz played pivotal roles as an extra as a U.S. soldier and a North Vietnamese Regular. He said of John Wayne, "At lunch, the producers were going to feed us peons hamburgers and hotdogs while the main characters ate steak. John Wayne said '...we all get steak or nobody does.'

Colonel Lamar Asbury "Bill" Welch, the actual commander of the United States Army Airborne School at Fort Benning in 1967, makes a brief cameo shooting trap with John Wayne.[12] Welch wears a 1960s US Army Fatigue Baseball Cap (common issue during the Vietnam War) in the scene while the actors wear green berets. Soldiers exercising on the drill field - that Wayne shouts to - were actual Army airborne recruits in training.[8]

The film's large set-piece battle is loosely based on the Battle of Nam Dong on 5–6 July 1964 when two Viet Cong battalions and the PAVN attacked a CIDG camp at Nam Dong near the Laotian border in South Vietnam's Central Highlands. For five hours, a mixed force of Americans, Australians and South Vietnamese troops fought off a force three times its size. The movie camp set, which was constructed on an isolated hill within Fort Benning, had barbed wire trenches, punji sticks, sandbagged bunkers, mortar pits, towers, support buildings and hooches. Several tons of dynamite and black powder were then used to largely destroy the set during the filming of the battle sequence.[8] Other realistic "Vietnamese village" sets were left intact after the shooting ended so they could be reused by the Army for training troops destined for South East Asia.

The original choice for scoring the film, Elmer Bernstein, a friend and frequent collaborator with John Wayne, turned the assignment down due to his political beliefs. As a second choice, the producers contacted Miklós Rózsa then in Rome. When asked to do The Green Berets for John Wayne, Rózsa replied: "I don't do Westerns". Rózsa was told "It's not a Western, it's an 'Eastern'".[13] As a title song, the producers used a Ken Darby choral arrangement of Barry Sadler's 1966 hit song Ballad of the Green Berets, which had been co-written by Robin Moore, author of the original Green Berets novel. Rózsa provided a strong and varied musical score including a night club vocal by a Vietnamese singer Bạch Yến;[14] however, bits of Onward Christian Soldiers were deleted from the final film.

Upon its cinema release, movie critic Roger Ebert gave it zero stars and cited extensive use of cliches, depicting the war in terms of "cowboys and Indians", and being a "heavy-handed, remarkably old-fashioned film."[3] It is on his "Most Hated" list. His then-rival at the Chicago Tribune, Clifford Terry, described the film as "both predictable and tedious" and added that its "most fatal mistake" was "presenting the United States' most complex war in the simplest of terms."[15]

The San Francisco Examiner's critic, Stanley Eichelbaum, observed the film thusly:

John Wayne—bless him—has convinced me he's more of a patriot than he thinks. His movie, The Green Berets, which opened yesterday at the St. Francis, Coliseum, El Rey and Geneva Drive-In, will without question unite the doves and the hawks. It is the first film about Vietnam about which there can be no controversy, no dispute, no argument. Nobody who sees it will find a single reason to disagree that it is the phoniest, most laughable war picture in many years.[16]

Reviewing for The New York Times, Renata Adler wrote, "The Green Berets is a film so unspeakable, so stupid, so rotten and false in every detail that it passes through being fun, through being funny, through being camp, through everything and becomes an invitation to grieve, not for our soldiers or for Vietnam (the film could not be more false or do a greater disservice to either of them), but for what has happened to the fantasy-making apparatus in this country."[4]

The screenplay for Oliver Stone's anti-war film Platoon was written partially as a reaction to The Green Berets.[17] It is mocked in the Gustav Hasford novel The Short-Timers in a scene where Joker and Rafter Man find the Lusthog Squad watching it at a movie theater. "The audience of Marines roars with laughter. This is the funniest movie we have seen in a long time."[18]

The journalist and left-wing activist John Pilger, a strong critic of American foreign policy, described his reaction to The Green Berets in a 2007 speech he gave criticising the media for its coverage of the Vietnam war. "I had just come back from Vietnam, and I couldn’t believe how absurd this movie was. So I laughed out loud, and I laughed and laughed. And it wasn’t long before the atmosphere around me grew very cold. My companion, who had been a Freedom Rider in the South, said, 'Let’s get the hell out of here and run like hell.'"[19]

Film commentator Emanuel Levy noted in his review that Wayne was not attempting to promote the cause of the Vietnam War as much as he was trying to portray the Special Forces in their unique role in the military: "Wayne said his motive was to glorify American soldiers as the finest fighting men 'without going into why we are there, or if they should be there.' His 'compulsion' to do the movie was based on his pride of the Special Forces, determined to show 'what a magnificent job this still little-known branch of service is doing.' ... 'I wasn't trying to send a message out to anybody,' he reasoned, 'or debating whether it is right or wrong for the United States to be in this war.'"

Levy also notes that Wayne acknowledged that war is generally not popular, but the soldiers who serve face the risks and dangers of combat nonetheless, and must be prepared to sacrifice themselves, regardless of their personal will or judgment. Levy quotes Wayne: "What war was ever popular for God's sake? Those men don't want to be in Vietnam any more than anyone else. Once you go over there, you won't be middle-of-the-road."[20]

Despite the poor reviews, and despite being protested and picketed in the United States and abroad,[21][22] it went on to be a commercial success, which Wayne attributed in part to the negative reviews from the press, which he saw as representing criticism of the war rather than the film.[23]

"The critics overkilled me, the picture and the war," said Wayne. "As a result, so many people went to see it that I had a cheque from the distributors for $8 million within three months. That's the cost of the picture, so we moved into profit the next day."[24] The Green Berets earned rentals of $8.7 million in North America during 1968.[25]

The film is recognized by American Film Institute in these lists:

• 2005: AFI's 100 Years...100 Movie Quotes:
  • Col. Mike Kirby: "Out here, due process is a bullet." — Nominated[26]