MPAA Rating: PG/Genre: Thriller Drama/Stars: George C. Scott, Timothy Hutton, Ronny Cox, Sean Penn, Tom Cruise, Brendan Ward, Evan Handler, John P. Navin, Jr., Billy Van Zandt, Giancarlo Esposito, James Handy, Earl Hindman, Jeff Rochlin, Jess Osuna, Wayne Tippet/Runtime: 126 minutes
I think it can safely be said that if you asked a group of 50-100 people to name 5 genres of film it should not come as that big of a shock to you if a fair amount of them mentioned “War” as one of the five on their list. I mean not only do war movies have inherent elements to them that can potentially make for a truly gripping story to tell an audience, but the themes they work with including heroism, sacrifice, and duty can also further enrich the degree of engagement that a prospective audience member might be willing to extend to the film in question, they can be utilized as a valuable teaching tool on real-life conflicts and/or individuals involved in those aforementioned conflicts, and they can also present an audience with truly complex and thought provoking situations for them to ponder long after the film has ended. Yet even amongst this iconic and storied genre of movie magic there is still room for truly riveting slices of cinema to, as we have seen and witnessed countless times before, tragically fall under the radar much to the detriment of movie goers worldwide. The reason I bring this up to you on this Veteran’s Day is because of a film from 1981, and slice of cinema I happen to be reviewing for you today incidentally, known as Taps. A film that while it didn’t do too bad from a financial standpoint, making 35.8 million dollars against a budget of only 14 million, to say nothing of not getting the worst reviews in the world (currently resting at a 68% on noteworthy/notorious film review website Rotten Tomatoes) is still a slice of cinema that by and large has fallen a bit on the wayside in light of other war films coming along such as Saving Private Ryan, Platoon, Fury, Black Hawk Down, and The Hurt Locker that did better both critically as well as commercially. In the eyes of this reviewer though that is something which should definitely be corrected. Not just because of some of the stars in it who I guess might have gone on to do bigger and (mostly) better things since this slice of cinema’s initial release, but because of the fact that this is, for all intents and purposes, a fairly riveting film in its own right. To be sure, it is never going to be on the same level as the aforementioned Saving Private Ryan or Platoon, but even so there is no denying that, with the aid of fairly well-done work both behind and in front of the camera, Taps “81” is still one poignant and thought-provoking cinematic outing that I promise will stay with you no matter if it’s your first time or 223’rd time watching it.
The plot is as follows: Based on the 1979 novel Father Sky by Devery Freeman, Taps gets underway by transporting us to the Bunker Hill Military Academy. A place where, for the last 141 years, young men have been taught by instructors in what can best be described as Military 101 before, upon their graduation, heading off to such esteemed institutions as West Point and Annapolis and from there going to serve their country in the military branch of their choice be it the Air Force, Army, Navy, Marines, or even the Coast Guard (but they haven’t seen as many from Bunker Hill in the past few terms). All joking aside there is no denying that the Academy, under the strong leadership of the authoritarian yet fair ret. Brigadier General Harlan Bache, has been seen by many as a beacon of honor, tradition, and where boys can become the best versions of themselves that they could hope to be. Unfortunately for the boys, with particular regard to one Brian Moreland, we see that a spot of trouble is awaiting them and their school just over the horizon even if they don’t quite know it yet. Trouble that takes the shape and form of, in the midst of the graduation parade, Bache having to make the solemn yet heart wrenching announcement that the school’s board of trustees has made the shocking decision to sell off the school to a group of real estate developers so they can build condos on the land instead. Yet whereas the board initially gives the boys another year to either graduate or find another school to attend (depending on their grade level), it isn’t long before another unforeseen tragedy causes things to go from bad to worse and, in the ensuing chaos, sees the board decide to just bypass the year long delay they had initially promised and choose to just close the school down immediately. Rather than just sit there and take this decision in a calm and rationale manner however, we see that a group of students led by Moreland (who Bache had prior to all of this chaos made Cadet Major aka the highest ranked cadet on the entire campus) have another idea very much in mind. One that takes the shape and form of no more or less than taking over the entire campus with the only ways that they will end their siege being that they wish to meet with Bache and have an opportunity to sit down with the board to try and negotiate a way to ensure that the school is permitted to stay open. Thus with the local police department and eventually a unit from the National Guard putting pressure on them from the outside and tensions rising from the various cadets who have chosen to remain with Moreland inside the school is there any possible way that this situation can be defused peacefully or is the legacy of Bunker Hill Military Academy about to come to an end in a truly tragic manner? That is something which I shall let you see for yourself….
Now right off the ol’ 21-gun salute, it should be noted that the work being delivered to us as an audience via the various departments operating behind the camera (while by no means flawless) still manages to be more than effective in what they are able to contribute to both the finished film and, by extension, movie goers. Without question, this starts with the work done in the director’s chair by Harold Becker (1979’s The Onion Field, 1985’s Vision Quest, and 1989’s Sea of Love among others) and whilst this is not his finest hour as a director it also is most assuredly not his worst effort by any stretch either (an “honor” that I feel would have to be given to 2001’s Domestic Disturbance). Indeed not only does Becker succeed more than admirably in making the cast of characters all multidimensional and therefore more like you or I rather than characters we have seen time and time again in other films of a similar ilk to say nothing of ground the whole story in a welcome and vital degree of realism (something undoubtedly aided by the fact that the film did actually shoot at an actual military academy), but the tempo in which he moves the story forward is incredibly spot-on. Yes, there are those of you who will see it as being a bit too slow for their liking, but by delivering it in that manner we see that Becker is trying to construct a sturdier emotional link with the viewer than he might have otherwise been able to pull off had the pace been more rushed. Along with Becker’s work at the helm, this slice of cinema is also the blessed recipient of a fairly well-written script as penned by Darryl Ponicsan (1992’s School Ties) and Robert Mark Kamen (the first 3 Karate Kid movies) respectively. Indeed in the hands of these 2 skilled writers, this film is not able to go into complex thematic concepts including honor and the clash between idealism and realism in a way that feels genuine, but it also does a wonderful job of giving the cadets’ actions a vital degree of moral ambiguity that results in you, the viewer being able to admire why they are doing this even if you don’t exactly approve of how they are doing it at the same time. Besides the work done by those aforementioned departments, this slice of cinema also manages to contain some truly remarkable work from 5-time Oscar nominee Owen Roizman (The French Connection, The Exorcist, 1981’s True Confessions) in the cinematography department. Indeed not only does Roizman’s work match up perfectly with the realism that the rest of the film is aiming to capture for us as an audience, but his more than effective utilization of lighting and camera work does a fantastic job of showcasing the pathos-rooted conflicts and drive of the characters be it genuinely potent moments or in instances that are more low-key and contemplative. Last, but by no measure least this section would not be complete if I didn’t talk about the work done by Oscar-nominated composer Maurice Jaffe (1966’s Grand Prix, 1990’s Ghost, 1987’s Fatal Attraction) on this slice of cinema’s musical accompaniment. Indeed not only does the score do a brilliant job of underlying the emotions present in the film with just the right touch of wistfulness and melancholy, but it also synchs up quite well with the thematic concepts the film is operating with in particular the ideas of duty and loyalty respectively. Suffice it to say that when you factor in dependable work from the editing and costume departments among others it’s clear that it might not be perfect or for everyone, but the work done behind the camera definitely helps make this as engaging of a sit as it ultimately turns out to be by film’s end.
Now in addition to the fairly solid work done by the various groups operating behind the camera, this film is also aided quite well courtesy of a collection of engaging performances in front of the camera by a truly impeccable cast of players. Without any question, this starts with the work done by Timothy Hutton (1980’s Ordinary People, 1993’s The Dark Half, and 2004’s Secret Window) in the lead role and he is truly gripping here. Indeed as Cadet Major Brian Moreland, we see that Hutton succeeds in presenting us with someone who is a natural leader that is respected by both his peers and chain of command even if he is also extremely idealistic. As the film goes along however, we see that Hutton is able to effectively shed that idealism and gain a more intricate comprehension of both what it means to be a leader, but on the world as well. Alongside Hutton, this slice of cinema also provides audiences with an engaging first role for a little-known actor named Sean Penn. Indeed in the role of Moreland’s roommate/friend Cadet Captain Alex Dwyer, Penn does a solid job here of providing audiences with a young man who, despite caring very much for his fellow cadets, is consistently torn between siding with them and recognizing the severe consequences their actions are sure to have. Besides the work given here by Hutton and Penn, this slice of cinema also manages to give audiences the first major role for another quasi-sorta famous actor named Tom Cruise and, big surprise coming up here, he’s actually really good. Indeed as Cadet Capt. David Shawn, we see that Cruise does a solid job of giving us a character who is a bit of a wild card in many respects. Yes he is an undeniably skilled leader who is more than capable of leading the cadets under his command. At the same time though, this is also a character who is a bit dare I say a bit too fanatical and hot headed which leads him to make choices during the story that are fairly questionable as well. Suffice it to say it’s an intriguingly complex performance and one that is definitely indicative of what Cruise has brought to audiences in the years since. Last, but by no means of the imagination least this section would most assuredly be lacking if I didn’t take some time to talk about the performance given here by screen icon George C. Scott in the pivotal role of Brigadier General Harlan Bache. Yes you should know that, despite his billing, this is very much a co-starring role that has (at most) 30-35 minutes of screentime tops. Even so however, there is also denying that Scott manages to make the most of every minute that he is given and provide audiences with a character that, iron willed authoritian leadership style aside, is very much someone who loves and cares about both the cadets under his command and the academy that they all are vital parts of and who is willing to do just about anything to save it. Suffice it to say that it’s a, without going into spoilers, heartbreakingly good turn and one that Scott delivers to us beautifully. Suffice it to say that when you also incorporate into the mix skilled efforts from such talents as Ronny Cox (the 1987 RoboCop, the 1990 Total Recall, and Deliverance from 1972), Giancarlo Esposito (Gus from Breaking Bad), Billy Van Zandt (Jaws 2 from 1978), Evan Handler (Ransom from 1996), James Handy (1990’s Arachnophobia), and a scene-stealing cameo from character actor Wayne Tippet among others it’s clear that there might be some issues to be found with this particular slice of cinema, but thankfully the work done by this undeniably talented group of individuals most assuredly does their part to help the film overcome them.
All in all and at the end of the day is Taps a cinematic effort that is completely and utterly flawless in every way possible and then some? Sadly, and as much as some of you out there might like me to answer in the affirmative, I am afraid that I am unable to do that with this particular film. With that in mind, is this a slice of cinema that would be seen by even the toughest of drill instructors as not being up to muster and would probably have to drop and give them at least 50 push-ups? Honestly I can definitely say that is not the case by any stretch of the imagination either. To be sure, this slice of cinema is not going to be one that will be everyone’s distinct cinematic brew. Not just because of the idealistic portrayal the film gives audiences of life at a military academy or even the fact that, for as well-developed as the main characters are in this, a fair amount of the secondary characters are sadly nowhere near as solidly constructed as they ought to be despite the game efforts of the performers portraying them. Rather, it is also because of the fact that this slice of cinema is one that doesn’t exactly operate with the tempo that you might see in a Fast and Furious movie thus ensuring that the more impatient viewers amongst you aren’t likely to give this a viewing anytime soon. Should you be someone who is able to synch up with the distinct wavelength that this slice of cinema is operating with, then I promise you will find quite a fair bit to enjoy here. Indeed the performances in front of the camera by the impeccable cast (despite the aforementioned inequality of narrative material) are all solid no matter how much or little screentime they are given, the story is fairly riveting and thought-provoking, the cinematography is incredibly well done, the work done at the helm is very much on-point, and the score is hauntingly melancholic yet undeniably potent at the same time. Suffice it to say then dear reader that Taps “81” might not be the movie of the year for 1981 or even one that was about to sweep the awards shows for that same year, but trust me when I say that this is still one look at the concepts of duty and loyalty to say nothing of honor and just how far one might be willing to go to safeguard their beliefs that manages to be quite potent and emotionally resonant in equal measure. Make of that what thou will dear reader and Happy Veteran’s Day! On a scale of 1-5 I give Taps “81” a solid 3.5 out of 5.
