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The power of The Deer Hunter lies in its grand pace and its dignified and eloquent visuals-things that don’t cut much ice in ’70s Hollywood unless you’re building a blockbuster.
The deer hunter ending explained movie#
Surprisingly the film’s finance is British-although Hollywood declared Vietnam an acceptable movie topic a couple of years ago, the industry as a whole remains very cautious about putting up money for close-to-the-bone treatments of such a nationally sensitive subject. The Deer Hunter runs head-on against liberal guilt or socialist analysis, and its overriding mythology-a fusion of sentiment with hard-nosed heroism-is something that we’d immediately associate with the Hollywood of a John Ford. He is the heroic protagonist of a remarkable new film, The Deer Hunter, which makes a personal odyssey and a national epic out of the apparently intractable material of American involvement in Vietnam. For Ithaca read Clairton, Pennsylvania, for Troy read Vietnam, and for Ulysses read Robert De Niro in his best role to date. Years on, exhausted by Phyrric colonial struggle, he regains his native land, only to find himself an alien, ejected and rootless after his ordeal. Ulysses, king of Ithaca, sails for the Trojan wars. Chris Auty pays his respects, but wonders if this catalogue of rituals hasn’t tried to make time stand still.
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To its director Michael Cimino they are ‘friendship, courage, dignity, grace’ and through them the movie’s Vietnam veterans turn into Homeric heroes.
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The Deer Hunter is a brilliant epic about the simple things of life. So ends The Deer Hunter, starring Vietnam as the myth that lets America off the hook and Robert De Niro in his finest role.