The Vietnam War is one of the darkest spots on the long scroll of American history. One of the bloodiest battles in one of the most violent wars in recent memory was the Battle of Xa Cam My, the repercussions of which are chronicled in Todd Robinson’s first feature since 2013, The Last Full Measure. This film follows the trials undertaken by Pentagon lawyer, Scott Huffman, thirty-two years after Xa Cam My to get the Medal of Honor awarded posthumously to war hero, William H. Pitsenbarger. Pitsenbarger, affectionately referred to as ‘Pits’ by his comrades, was an Air Force Pararescueman who stepped in to assist the wounded on the ground of Xa Cam My after the Infantry’s medic was injured. Pitsenbarger was unfortunately killed during the battle after continually opting to stay on the ground. A group of his friends and the men he rescued initially petitioned for his Medal of Honor soon after the Vietnam War ended, but it was denied. In 1997, one of the men, Tully, approached Huffman with a renewed vigor and a new attempt for the Medal. Ultimately, they succeeded in earning the Medal for Pitsenbarger, who ultimately rescued over 60 men.
There are several aspects of this film that fall short of what they could have been. One of the most confusing elements is the narrative structure. Overall, I found the story hard to follow when it came to the flashback sequences that are meant to show Pitsenbarger’s actions in Xa Cam My. The non-linear presentation is jumbled and left me both unable to fully understand the events that I was being shown and, therefore, unable to put much stake in them. Perhaps this was because I myself am not well versed in the military vocabulary and jargon. However, it did not seem as if the script was overly-laden with this vocabulary and I believe the trouble lays more-so in choppy, unclear editing. The story also felt severely unfocused. The feat that the film tries to accomplish in straddling the line between past and present narration leaves the story feeling more about Huffman for the majority of the film. Toward the end, however, the focus shifts sharply to be explicitly about Pitsenbarger, leaving me feeling disoriented and as if the end had been dashed in without much time to shift perspectives gracefully. The story overall did not focus on Pitsenbarger as much as it needed to for how much the tone relied upon his act of sacrifice.
This is not the only act of tonal confusion to which this film falls victim, unfortunately. The main storyline of Huffman venturing across the country to gather stories from Pitsenbarger’s comrades (yes, this is the main storyline) is rife with sentimentality and enough sap to fill a maple tree. To put it bluntly, there were significantly too many moments underscored by swelling string and piano orchestration that was clearly meant to add emotional stakes to the scene. However, amidst these Hallmark-worthy moments, there would be flashback sequences dashed in quite frequently that would quickly shift the tone to a dark and desperate setting that acts as a stark contrast to the events taking place in 1997. However, instead of this contrast adding any sort of stake to the events thirty-years later, it detracts from the overall tonal landscape. Overall, this film does not have the same stake or emotional weight of other films of its kind and relies solely upon blatant appeals to the audience’s sentimentality rather than any sort of build up in investment in the characters over the course of the movie.
However, despite all of this, I would be remiss to not say that there were a few scenes that made me tear up. This is mostly due to the fact that I myself am what many people would refer to as a “sap.” I can’t help it. I can’t watch any film with a dog in it. Even if the dog doesn’t die, I can’t bring myself to watch it. It is no surprise, therefore, that I would become a little misty eyed when Pitsenbarger finally receives the credit that he justly deserves after effecting the lives of so many. What hit me the most was not so much the character that had been portrayed in the film, but rather the real-life events that I knew had inspired this film. After relinquishing my pride, I’ll admit it was a bit of the soundtrack as well. However, I do not think that for viewers that have that same sense of sentimentality and little-to-no control over their tear ducts would be affected in the same way.
The one point where this film does absolutely shine is in the phenomenal cast. This was Peter Fonda’s final film role before his unfortunate passing in 2019 at the age of 79. This is also the first starring role for Sebastian Stan after his roles in the MCU, I, Tonya, Black Swan, and The Martian, amongst others. The acting is truly what carries this film. While the entire cast performs brilliantly, I feel that William Hurt, Ed Harris, Samuel L. Jackson, Christopher Plummer, Jeremy Irvine, Alison Sudol, Stan, and Fonda all perform exceptionally well. If it hadn’t been for the genius casting decisions, this film most likely would have no legs to stand on. These actors and actresses pay a great service to Pitsenbarger’s truly heroic sacrifice.
This film, while obviously well-intentioned, suffers greatly in it’s writing, tone, and unfocused story. It’s sentimentality comes across as manufactured and the emotional stakes are not developed enough for the film to rest on independently. However, what ultimately matters the most is that the story of William Pitsenbarger is remembered and memorialized for being a true act of selfless bravery that saved and influenced the lives of hundreds.
2.5/5 STARS