It seems to me that the ultimate moral of this story might be that in war everyone is a casualty in some way, shape or form - even those who are never wounded and stay personally above the brutality. "Casualties Of War" is a depiction of an actual (and sickening) event that was first reported in the New Yorker magazine in 1969 in which a squad of American soldiers kidnap, rape and murder an innocent, young Vietnamese girl.
The two main protagonists in the movie are played by Michael J. Fox and Sean Penn. Penn is Meserve - the sargeant in command of the squad who develops the plan for the kidnap, rape and murder. He represents one type of casualty - a kid, promoted way beyond his years, in a situation he should never have been in, watching friends and comrades dying on a daily basis, becoming jaded and unfeeling as a result. You feel no sympathy for his character, but you recognize the tragedy of his character - and of the other members of the squad who let themselves be pulled into the plan. Fox, on the other hand, is Eriksson - the squad's conscience. He knows this is wrong, and he refuses to participate, even trying to help the girl escape, only to be derided and ridiculed by the others as either a coward or a homosexual. After the girl is killed, for no real reason, he reports the incident to his superiors, only to hear repeated variations on the theme "let it go. War is war." This is probably Michael J. Fox's most powerful movie role ever - a definite change of pace from the teen-oriented comedies that had made him famous. He's also a casualty, of course - haunted forever by the sickening scene he had witnessed. And of course, there's the real casualty - the young girl dragged out of her home and away from her mother who endures a nightmare before being killed.
This is most definitely a powerful, disturbing and brutal movie that definitely makes it point.
The two main protagonists in the movie are played by Michael J. Fox and Sean Penn. Penn is Meserve - the sargeant in command of the squad who develops the plan for the kidnap, rape and murder. He represents one type of casualty - a kid, promoted way beyond his years, in a situation he should never have been in, watching friends and comrades dying on a daily basis, becoming jaded and unfeeling as a result. You feel no sympathy for his character, but you recognize the tragedy of his character - and of the other members of the squad who let themselves be pulled into the plan. Fox, on the other hand, is Eriksson - the squad's conscience. He knows this is wrong, and he refuses to participate, even trying to help the girl escape, only to be derided and ridiculed by the others as either a coward or a homosexual. After the girl is killed, for no real reason, he reports the incident to his superiors, only to hear repeated variations on the theme "let it go. War is war." This is probably Michael J. Fox's most powerful movie role ever - a definite change of pace from the teen-oriented comedies that had made him famous. He's also a casualty, of course - haunted forever by the sickening scene he had witnessed. And of course, there's the real casualty - the young girl dragged out of her home and away from her mother who endures a nightmare before being killed.
This is most definitely a powerful, disturbing and brutal movie that definitely makes it point.