Mel puts Garfield through war hell
For the first time in 11 years, Mel Gibson steps behind the camera for this true-life WWII story – and his triumphant return has scooped Best Picture and Director Oscar nominations.
Opening with charred bodies on the battlefield, Hacksaw Ridge doesn’t make for easy, comfortable viewing as Gibson puts the perils of war up on screen for all to see.
Andrew Knight and Robert Schenkkan wrote an engaging screenplay showcasing the remarkable tale of American army medic Desmond T. Doss (Andrew Garfield), who became the first man in US history to receive the Medal of Honor without firing a single shot for his brave service during the Battle of Okinawa.
Beginning with his childhood and following him all the way into the heart of battle, this is a comprehensive peek into Doss’ astonishing journey – and a never-better Garfield is up to the challenge of playing the reluctant hero.
The Brit has also been nominated for Oscar glory – as Best Actor – and it’s well-earned recognition. Whether it’s his perma-grin while wooing future wife Dorothy (a sweet Teresa Palmer) or laughing off Vince Vaughn’s drill sergeant’s insults, Garfield is an endearing force of nature.
Doss, if you pardon the pun, sticks to his guns to never pick up arms – even in the face of extreme provocation and when it means missing his wedding day – and is mystified by the reaction his stance receives. When he finally does handle a rifle it’s to construct a makeshift stretcher.
Gibson’s cast is pretty spot-on across the board. Hugo Weaving is a picture of sadness and regret as Doss’ dad Tom, an embittered ex-soldier who doesn’t want his sons going off to war.
Sam Worthington (Captain Glover) gives his finest turn yet and Luke Bracey (Smitty) displays versatility to embrace his initially one-note character’s change. Vaughn’s rare dramatic role is a little distracting but while he’s a long way from R. Lee Ermey’s sadistic Sergeant Hartman in Full Metal Jacket, he still gets to spit out a few tasty putdowns – and the odd comedic line.
Gibson knows how to film an affecting scene, whether it be an eye peeking out from dirt on the ground, the squad our soldiers are replacing driving past them broken and beaten or the eerie, smoke-filled ascent to the titular location.
The Aussie doesn’t hold back with his battle sequences either; his camera gets up close to the brutal, visceral combat as fire and brimstone – and a relentless enemy – rain down on Doss’ 77th Infantry Division in a hellish cocktail of severed limbs, blood, hidden gunfire and horror-style jump scares.
It’s just a shame that Gibson overdoes the religious iconography late on as Doss’ courageous actions were in no need of sugar coating.