Coming Home (1978)

Regisseur:

Hal Ashby

Drehbuchautoren:

Nancy Dowd (story)
Robert C. Jones (writer)

Premierendatum:

15. Februar 1978 (USA)

Genre:

Drama | Kriegsfilm

Werbezeile:

A man who believed in war! A man who believed in nothing! And a woman who believed in both of them!

Plot:

A woman whose husband is fighting in Vietnam falls in love with another man who suffered a paralyzing combat injury there.

Plot Keywords:

Nude Body Double | Accidental Shooting | Paraplegic | Frigidity | Hospital

Filmpreise:

Won 3 Oscars. Another 10 wins & 11 nominations

Nutzerkommentare:

Timely and excellent portraits of two veteran soldiers of Viet Nam returning as changed men, confused and disillusioned, to a woman they each love and a U.S. they can no longer reconcile with the pre-war ima

Besetzung

Jane Fonda	...	Sally Hyde
Jon Voight	...	Luke Martin
Bruce Dern	...	Capt. Bob Hyde
Penelope Milford	...	Vi Munson
Robert Carradine	...	Bill Munson
Robert Ginty	...	Sgt. Dink Mobley
Mary Gregory	...	Martha Vickery
Kathleen Miller	...	Kathy Delise
Beeson Carroll	...	Capt. Earl Delise
Willie Tyler	...	Virgil
Louis Carello	...	Bozo (as Lou Carello)
Charles Cyphers	...	Pee Wee
Olivia Cole	...	Corrine
Tresa Hughes	...	Nurse Degroot
Bruce French	...	Dr. Lincoln

Alternativ:

Sie kehren heim (Bundesrepublik Deutschland) [de]

Länge:

127 Min

Produktionsland:

USA

Sprache:

Englisch

Farbe:

Farbe

Seitenverhältnis:

1.85 : 1

Tonverfahren:

Mono

Altersfreigabe:

Iceland:12 | New Zealand:R18 | Canada:14+ (Ontario) | Norway:16 | Argentina:18 | Australia:MA | Finland:K-18 | Singapore:M18 | Sweden:15 | UK:18 | USA:R

Drehorte:

Manhattan Beach, California, USA

Firma:

Jerome Hellman Productions

Dies und das:

Jon Voight's role of Luke Martin was loosely inspired by paralyzed Vietnam veteran Ron Kovic, who was making inroads in Hollywood with his book "Born on the Fourth of July" at the time. Of course, Kovic's book and story was in 1989 put on the screen with Tom Cruise in the role of Kovic.

Dialogzitate:

Luke Martin: [being interviewed by a television news crew after chaining himself to a Marines Recruitment Facility] The reason why I'm here is because a buddy of mine who'd been in 'Nam took his own life today. This is kind of a funeral service. And I'm here because I'm trying to tell people, man, if we want to commit suicide, we have plenty of reasons to do it right here at home. We don't have to go to Vietnam to find reasons to kill ourselves. I just don't think we should be over there.

Bezüge zu anderen Titeln:

Verweis/Anspielung/Erwähnung in "What I Like About You: Coming Home (#4.11)" (2006)

Soundtrack:

My Girl

Timely and excellent portraits of two veteran soldiers of Viet Nam returning as changed men, confused and disillusioned, to a woman they each love and a U.S. they can no longer reconcile with the pre-war ima

Sadly and surprisingly relevant, "Coming Home" offers the perspective of one man who's war experience renders him not only paralyzed but unable to deny his own real life experience as a wartime soldier to the extent that he can continue supporting his government's patriotic dogma that one man should kill, torture or oppress other soldiers, men, women and children to defend motives he now views, from a wheelchair, as questionable. Awakening to this perspective is a woman who, attempting to aid the war effort and make herself useful during her husband's time of military service to his country, volunteers her time at the local Veteran's Hospital.

As she encounters the soldiers just returned battle with countless physical and psychological wounds too deep to enable their return to duty, she begins to understand the impossibility of their task to "get back to a normal life" and starts a longer journey out from under her own unquestioning acceptance of obeying principles that manufacture circumstances that make the peaceful pursuits of love and family inconceivable.

Her own husband does return to her, an officer who spent his tour of duty doing what he has accepted all of his life is the "right thing" for his country but he, too, is terribly damaged by what he has seen. When he discovers that he has returned to a wife that has broken both the sanctity of their marriage and the very foundation of their commonality as people - namely, upholding the belief that you must endure and inflict and perpetuate the tortures of Hell, itself, if your government demands it of you - he is unable to find a way forward in his life. As the last institutions that served as the structure of his sanity and happiness are wrenched out from under him, he faces a void too horrible to walk into and turns to the only way out that he can perceive.

This film is shot in what seems a sincere approach to relating the stories that were, immediately post-viet nam, being widely reported of and experienced by those U.S. men and women returning from service. It attempts, via narrative, to correlate them to the cultural experiences of the public. It seems to try to offer insight into the collective trauma inflicted by the very idea that war, as an institutional means of problem solving, is an acceptable and patriotic belief that merits the sacrifice of our lives and sanity.

Though the film definitely has its own perspective, it maintains respect for each of the characters represented. It remains the imperative of each viewer to decide the question for themselves.