| Hearts and Minds | |
|---|---|
 Criterion Collection DVD Cover (first edition) | |
| Directed by | Peter Davis |
| Produced by | Bert Schneider Peter Davis |
| Cinematography | Richard Pearce |
| Edited by | Lynzee Klingman Susan Martin |
Production companies | Rainbow Pictures Corporation BBS Productions |
| Distributed by | Warner Bros. |
Release date |
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Running time | 112 minutes |
| Country | United States |
| Language | English |
| Budget | $1 million |
Hearts and Minds is a 1974 Americandocumentary film about theVietnam War directed byPeter Davis. The film's title is based on a quote from PresidentLyndon B. Johnson: "the ultimate victory will depend on the hearts and minds of the people who actually live out there".[1] It won theOscar forBest Documentary at the47th Academy Awards presented in 1975.[2]
The film premiered at the 1974Cannes Film Festival. Commercial distribution was delayed in the United States due to legal issues, including a temporaryrestraining order obtained by one of the interviewees, formerNational Security AdvisorWalt Rostow, who had claimed through his attorney that the film was "somewhat misleading" and "not representative" and that he had not been given the opportunity to approve the results of his interview.[3]Columbia Pictures refused to distribute the picture, which forced the producers to purchase back the rights and release it by other means. The film was shown in Los Angeles for the one week it needed to be eligible for consideration in the 1974 Academy Awards.
In 2018, the film was selected for preservation in theNational Film Registry by theLibrary of Congress as being "culturally, historically, or aesthetically significant."[4][5][6]
A scene described as one of the film's "most shocking and controversial sequences" shows the funeral of aSouth Vietnamese soldier and his grieving family, as a sobbing woman is restrained from climbing into the grave after the coffin.[7] The funeral scene is juxtaposed with an interview with GeneralWilliam Westmoreland—commander of American military operations in the Vietnam War at its peak from 1964 to 1968 andUnited States Army Chief of Staff from 1968 to 1972—telling a stunned Davis that "The Oriental doesn't put the same high price on life as does a Westerner. Life is plentiful. Life is cheap in the Orient." After an initial take, Westmoreland indicated that he had expressed himself inaccurately. After a second take ran out of film, the section was reshot for a third time, and it was the third take that was included in the film.[8][9] Davis later reflected on this interview stating, "As horrified as I was when General Westmoreland said, 'The Oriental doesn’t put the same value on life,' instead of arguing with him, I just wanted to draw him out... I wanted the subjects to be the focus, not me as filmmaker."[10]
The film also includes clips ofGeorge Thomas Coker, aUnited States Navy aviator held by the North Vietnamese as aprisoner of war for six and a half years, including more than two years spent in solitary confinement.[11] One of the film's earliest scenes details a homecoming parade in Coker's honor in his hometown ofLinden, New Jersey, where he tells the assembled crowd on the steps of city hall that, if the need arose, they must be ready to send him back to war.[12] Answering a student's question about Vietnam at a school assembly, Coker responds that "If it wasn't [sic] for the people, it was very pretty. The people there are very backwards and primitive and they make mess out of everything."[9][13][14] In a 2004 article on the film,Desson Thomson ofThe Washington Post comments on the inclusion of Coker in the film, noting that "When he does use people from the pro-war side, Davis chooses carefully."[9]Time magazine's Stefan Kanfer noted the lack of balance in Coker's portrayal, "An ex-P.O.W.'s return to New Jersey is played against a background of red-white-and-blue-blooded patriots and wide-eyed schoolchildren. The camera, which amply records the agonies of South Vietnamese political prisoners, seems uninterested in the American lieutenant's experience of humiliation and torture."[15]
The film also features Vietnam war veteran and anti-war activistBobby Muller, who later founded theVietnam Veterans of America.[9][16]
Daniel Ellsberg, who had released thePentagon Papers in 1971, discusses his initial gung-ho attitude toward the war in Vietnam.[17]
The concluding interview features US Vietnam veteran Randy Floyd, stating "We've all tried very hard to escape what we have learned in Vietnam. I think Americans have worked extremely hard not to see the criminality that their officials and their policy makers exhibited."[18]
The film includes images ofPhan Thị Kim Phúc in sections of a film shot of the aftermath of a napalm attack which shows Phúc at about age nine running naked on the street after being severely burned on her back.[9]
The following list excludes second appearances, and people who are uncredited: the latter include various presidents (Richard Nixon,John F. Kennedy,Lyndon B. Johnson, etc.) andBob Hope:
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Hearts and Minds has attracted widely polarized opinions from film critics since its release. Reviewers commonly consider it either a masterpiece of political/documentary filmmaking or a propagandistichatchet job on the Vietnam War, with some viewing it as both.[20][21] A mixture of mostly contemporary film critic reviews on the review tallying websiteRotten Tomatoes reports that 90% of the 40 film critic reviews they tallied were positive with an average critics score of 8.31 out of 10.[22]
Vietnam War films from the 1960s to the 1970s reflected deep divisions at home over the war. Some reflected pro-war sentiments and vilified anti-war protesters, while others stood at the opposite end and criticized government officials and policies.Hearts and Minds was one of the first of the latter to be produced and released before the war's end in 1975.[23]
Vincent Canby ofThe New York Times called the film an "epic documentary ... [that] recalls this nation's agonizing involvement in Vietnam, something you may think you know all about, including the ending. But you don't."[17] Canby included the film among his ten best of 1975, calling it a "fine, complex, admittedly biased meditation upon American power" and a movie "that will reveal itself as one of the most all-encompassing records of the American civilization ever put into one film."[24]Desson Thomson ofThe Washington Post described it as "one of the best documentaries ever made, a superb film about the thoughts and feelings of the era, the whole festering, spirited animus of it."[9]Rex Reed called it that year's "best film at the Cannes Film Festival" and stated that "[t]his is the only film I have ever seen that sweeps away the gauze surrounding Vietnam and tells the truth."[25]World Movies, theAustralian subscription TV channel, includedHearts and Minds in its 2007 series of25 Docs You Must See Before You Die.[26]
Other reviewers have criticized the movie for bias.Roger Ebert for theChicago Sun Times wrote in his three-star review: "Here is a documentary about Vietnam that doesn't really level with us ... If we know something about how footage is obtained and how editing can make points, it sometimes looks like propaganda ... And yet, in scene after scene, the raw material itself is so devastating that it brushes the tricks aside."[27]Walter Goodman ofThe New York Times in an article titledFalse Art of the Propaganda Film, pointed out Davis' technique of showing only one side of the interview, pointing out thatWalt Rostow's response may have been in response to "some provocation, a gesture, a facial expression, a turn of phrase" from his interrogator. He also criticizedShirley MacLaine'sThe Other Half of the Sky: A China Memoir, andHaskell Wexler'sIntroduction to the Enemy.[28] Shirley MacLaine rejected the criticism in a published rejoinder.[29]
David Dugas ofUnited Press International, in a 1975 review printed inPacific Stars and Stripes, said that "Davis' approach clearly is one-sided and is not likely to impress Vietnam hawks. But his film is brilliantly assembled, biting and informative."[3]
M. Joseph Sobran, Jr. of the conservative magazineNational Review, writing in 1975, called the film a "blatant piece of propaganda ... disingenuously one-sided ..." and went on to show thecinematic techniques used by the producers to achieve this effect.[30]
Stefan Kanfer ofTime magazine noted in 1975 that "Throughout, Hearts and Minds displays more than enough heart. It is mind that is missing. Perhaps the deepest flaw lies in the method: the Viet Nam War is too convoluted, too devious to be examined in a style of compilation without comment."[15]
In 2002, David Ng wrote inImages: A Journal of Film and Popular Culture wrote: "The documentary is clearly anti-war in both tone and content."[31]
AfterColumbia Pictures refused to distribute the picture, producerBert Schneider went toHenry Jaglom to purchase back the rights and released the film in March 1975 throughWarner Bros. A planned December 18, 1974, opening inLos Angeles, California was canceled after the production company had been unable to pay the $1 million needed to buy the rights from Columbia Pictures.[32] The film was ultimately shown in Los Angeles for the one week it needed to be eligible for consideration for the 1974 Academy Awards.
During his acceptance speech for the Academy Award for Best Documentary, Feature, on April 8, 1975, co-producerBert Schneider said, "It's ironic that we're here at a time just before Vietnam is about to be liberated" and then read a telegram containing "Greetings of Friendship to all American People" from Ambassador Dinh Ba Thi of theProvisional Revolutionary Government (Viet Cong)[33] delegation to theParis Peace Accords.[34] The telegram thanked the anti-war movement "for all they have done on behalf of peace".[23]Frank Sinatra responded later in the evening by reading a letter fromBob Hope, another presenter on the show, which said: "The academy is saying, 'We are not responsible for any political references made on the program, and we are sorry they had to take place this evening.'"[35]
TheAcademy Film Archive preservedHearts and Minds in 2000.[36]
Michael Moore has citedHearts and Minds as the one film that inspired him to become a filmmaker, calling it "not only the best documentary I have ever seen...it may be the best movie ever".[1][37] Many of the cinematic techniques used inHearts and Minds are similar to Moore's 2004 documentaryFahrenheit 9/11.[20]
Colin Jacobson wrote in his review of the movie for theDVD Movie Guide: "Probably the biggest criticism one can level at [Hearts and Minds] stems from its editorial bent. Without question, it takes the anti-war side of things, and one could argue it goes for a pro-Vietnamese bent as well....In the end, Hearts and Minds remains a flawed film that simply seems too one-sided for its own good."[38]
In their 2014 bookCinematic Cold War: The American and Soviet Struggle for Hearts and Minds, the authors observe thatHearts and Minds, by accusing the U.S. of committing genocide in Vietnam, was among the films of that era that "challenged Cold War shibboleths head-on."[39]
What can the striking similarities and differences of these pictures tell us about the media environments of their respective times? What do they reveal about the architecture of cinematic argument? About the eternal verities of war rhetoric?