{"id":4719,"date":"2018-03-24T03:40:45","date_gmt":"2018-03-24T10:40:45","guid":{"rendered":"https:\/\/travelingboy.com\/travel\/?p=4719"},"modified":"2018-03-24T15:46:44","modified_gmt":"2018-03-24T22:46:44","slug":"johnny-got-gun-look-back","status":"publish","type":"post","link":"https:\/\/travelingboy.com\/travel\/johnny-got-gun-look-back\/","title":{"rendered":"Johnny Got His Gun \u2013 A Look Back"},"content":{"rendered":"

\"JohnnyDirector<\/strong>: Dalton Trumbo<\/a><\/p>\n

Writer<\/strong>: Dalton Trumbo<\/a> (novel), Dalton Trumbo<\/a> (screenplay)<\/p>\n

Cinematography<\/strong>: Jules Brenner <\/a><\/p>\n

Music: <\/strong>Jerry Fielding <\/a><\/p>\n

Special Effects: <\/strong>Dick Williams <\/a><\/p>\n

Stars<\/b>: Timothy Bottoms<\/span><\/a>, Kathy Fields<\/span><\/a>, Marsha Hunt<\/span><\/a>, Jason Robards<\/a>, Diane Varsi<\/a>,<\/span> Donald Sutherland <\/span><\/a>(As Christ<\/span>),<\/span> Dalton Trumbo<\/span><\/a> (Orator), Winston Churchill<\/span><\/a> (Himself – archive footage)<\/p>\n

Johnny Got His Gun<\/em><\/h2>\n

By Walt Mundkowsky<\/em><\/p>\n

The praise that has rained on Dalton Trumbo\u2019s Johnny Got His Gun<\/i><\/b> has a desperate ring, citing it with All Quiet on the Western Front<\/i><\/b><\/a>\u00a0and La Grande<\/i><\/b> Illusion <\/i><\/b><\/a>in the roll call of antiwar classics. Trumbo, of course, was one of the Hollywood Ten, refusing to cooperate with the House Un-American Activities Committee in 1947 and eventually imprisoned for 10 months for contempt of Congress. To see this film as short of towering greatness is evidently to be a HUAC assassin.<\/p>\n

\"Timothy<\/p>\n

However highly one values Trumbo\u2019s personal integrity, his profile as a writer is another matter. Pauline Kael aptly described him as \u201cthe leading exponent of the dictates-of-conscience and the dignity-and-indomitable-spirit-of-man school of screenwriting.\u201d I can\u2019t think of a Big Theme he or Stanley Kramer hasn\u2019t botched. This film is no different: From the start clich\u00e9s fall like well-cut pines. Above the credits is a typical newsreel montage, accompanied by the usual snare drums: shots of W. W. I leaders \u2014 a young Churchill, Clemenceau, Czar Nicholas II, Marshal Foch bestowing an embrace on a soldier, King George V, Kaiser Bill; troops and cavalry pass in review; Woodrow Wilson waves, Teddy Roosevelt makes a speech, Wilson signs papers. Over a shot of Yank soldiers boarding a ship, the whistle of an incoming artillery shell. We see the explosion and the screen goes black.<\/p>\n

\"Timothy<\/p>\n

The victim of that explosion, a young soldier named Joe, loses his arms, legs and face. He is kept alive as a medical curiosity, and the officer in charge writes, \u201cIt follows, then, that this young man will be as unthinking and unfeeling as the dead until the day he joins them.\u201d That is not the case (if it were, the movie would be different): Joe remembers and dreams and tries to comprehend his present condition. Already the film gives off a considerable stench. Trumbo\u2019s method has always been to take an uncompromising stand (here, against mutilation) in terms so broad and banal that debate is not possible this side of sanity. This speechless basket case is just about the perfect vehicle for the ideas on display, given their quality. Inarticulate movie heroes (The Graduate<\/em><\/strong>, Easy Rider<\/em><\/strong>) are always in fashion, and how could one hope to improve on this one? Who wouldn\u2019t feel pity for this \u201cpiece of meat that keeps on living,\u201d as Joe calls himself; Timothy Bottoms voices him in his debut.<\/p>\n

\"Jason<\/p>\n

Worse yet, the prevailing cheapness is rendered unendurable by the sentimental muck piled on top of it. The present is shot in black and white, while Joe\u2019s fantasies and memories are in color. \u201cI don\u2019t know whether I\u2019m alive and dreaming or dead and remembering,\u201d Joe thinks at one point, but the film never suggests the lightning-like play of conflicting, misshapen images that statement implies; everything is heavy, plunked down. Many of the scenes come not from Joe\u2019s consciousness but Trumbo\u2019s \u2014 the gross gibes at W. W. I slogans (\u201cGonna make the world safe for democracy, aren\u2019t you?\u201d). The scene in which Joe delicately deflowers his girl may become a model for the protractedly coy and cutesy. Joe\u2019s gradual awareness of his state (\u201cNo eyes \u2026 I \u2026 I haven\u2019t got any eyes!\u201d) is meant to be horribly moving, but it brought Thomas Kyd\u2019s The<\/em><\/strong> Spanish Tragedy<\/em><\/strong> (1587?) to mind:<\/p>\n

O eyes! no eyes, but fountains fraught with tears;
\n<\/em><\/strong>O life! no life, but lively form of death;
\n<\/em><\/strong>O world! no world, but mass of public wrongs.<\/em><\/strong><\/p>\n

\"Timothy<\/p>\n

For bombast, the lesser Elizabethans rule. Better (or worse) is the sympathetic nurse, for whom Diane Varsi does her considerable best, hurtling into the grotesque. Joe thinks, \u201cSomething fell on me. Something wet. What was it?\u201d A tear. Later she writes \u201cMerry Christmas\u201d on his chest. (I wouldn\u2019t call Trumbo\u2019s touch light.)<\/p>\n

Joe eventually hits on the idea of tapping out Morse with the back of his head. The Army brass are astounded, since they would never have allowed him to live if they had thought he wasn\u2019t \u201cdecerebrated.\u201d His message to them is \u201cI want out, so people can see what I am. Put me in a carnival show where they can look at me. Let me out.\u201d And then: \u201cIf you won\u2019t let people see me, then kill me.\u201d The Army (of course) does neither. Presumably they will not accept responsibility for his present state or for killing him. The friendly nurse tries to kill him but is discovered and sent away. At the end Joe is alive and alone.<\/p>\n

\"Donald<\/p>\n

One exchange prompted wild applause both times I saw the film. A high-ranking officer asks the chaplain if he has anything to say to Joe. The chaplain answers, \u201cI will pray for him for the rest of my days; but I will not risk testing his faith against your stupidity\u201d \u2014 and a great many cheered (the one who applauds loudest hates war the most?). An antiwar film that lets everyone off the hook is by definition a flop. I yield to many in my approval of Godard\u2019s Les Carabiniers<\/em><\/strong><\/a>, but it is to be commended for its refusal of easy emotional escape-hatches. Johnny Got His Gun<\/em><\/strong> sees to it that one leaves with a mind unengaged and assumptions undented. Besides, the tragedy of war is not that perfectly healthy young people are turned into basket cases in a split second; automobile accidents can do that.<\/p>\n

George Orwell wrote in 1944: \u201cBy shooting at your enemy you are not in the deepest sense wronging him. But by hating him, by inventing lies about him and bringing children up to believe them, by clamouring for unjust peace terms which make further wars inevitable, you are striking not at one perishable generation, but at humanity itself.\u201d If one bothers with antiwar films at all, it should be to learn something we don\u2019t already know, not because we want our sympathies reinforced.<\/p>\n

Extra:<\/b> Timothy Bottoms Interview<\/a> (2009 Video)<\/p>\n","protected":false},"excerpt":{"rendered":"

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