The Deer Hunter, which won the 1978 Oscar for Best Picture Of The Year, opens in a Pennsylvania steel mill.

Mike (Robert De Niro), Steve (John Savage), Nick (Chistopher Walken), Stan (John Cazale), and Axel (Chuck Aspegren, a real-life steel worker who was cast in this film after De Niro met him while doing research for his role) leave work and head straight to the local bar, where they are greeted by the bartender, John (George Dzundza).  It’s obvious that these men have been friends for their entire lives.  They’re like family.  Everyone gives Stan a hard time but deep down, they love him.  Axel is the prankster who keeps everyone in a good mood.  Nick is the sensitive one who settles disputes.  Steve is perhaps the most innocent, henpecked by his mother (Shirley Stoler) and engaged to marry the pregnant Angela (Rutanya Alda), even though Steve knows that he’s not actually the father.  And Mike is their leader, a charismatic if sometimes overbearing father figure who lives his life by his own code of honor.  The men are held together by their traditions.  They hunt nearly every weekend.  Mike says that it’s important to only use one shot to kill a deer.  Nick, at one point, confesses that he doesn’t really understand why that’s important to Mike.

Steve and Angela get married at a raucous ceremony that is attended by the entire population of their small town.  The community is proud that Nick, Steve, and Mike will all soon be shipping out to Vietnam.  Nick asks his girlfriend, Linda (Meryl Streep), to marry him when he “gets back.”  At the reception, Mike gets into a fight with a recently returned soldier who refuses to speak about his experiences overseas.  Mike ends up running naked down a street while Nick chases him.

The Deer Hunter is a three-hour film, with the entirety of the first hour taken up with introducing us to the men and the tight-knit community that produced them.  At times, that first hour can seem almost plotless.  As much time is spent with those who aren’t going to Vietnam as with those who are.  But, as the film progresses, we start to understand why the film’s director, Michael Cimino, spent so much time immersing the viewer in that community of steel workers.  To understand who Nick, Mike, and Steve are going to become, it’s important to know where they came from.  Only by spending time with that community can we understand what it’s like to lose the security of knowing where you belong.

If the first hour of the film plays out in an almost cinema verité manner, the next two hours feel like an increasingly surreal nightmare.  (Indeed, there was a part of me that suspected that everything that happened after the wedding was just Michael’s drunken dream as he lay passed out in the middle of the street.)  The film abruptly cuts from the beautiful mountains of Pennsylvania to the violent horror of Vietnam.  A Viet Cong soldier blows up a group of hiding women and children.  Michael appears out of nowhere to set the man on fire with a flame thrower.  An army helicopter lands and, in a coincidence that strains credibility, Nick and Steve just happen to get out.  Somehow, the three friends randomly meet each other again in Vietnam.  Unfortunately, they are soon captured by the VC.

They are held prisoner in submerged bamboo cages.  Occasionally, they are released and forced to play Russian Roulette.  Mike once again becomes the leader, telling Steve and Nick to stay strong.  Eventually, the three men do manage to escape but Steve loses his leg in the process and a traumatized Nick disappears in Saigon.  Only Mike returns home.

The community seems to have changed in Mike’s absence.  The once boisterous town is now quiet and cold.  The banner reading “Welcome Home, Mike” almost seems to be mocking the fact that Mike no longer feels at home in his old world.  Stan, Axel, and John try to pretend like nothing has changed.  Mike falls in love with Linda while continuing to feel guilty for having abandoned Nick in Saigon.  Steve, meanwhile, struggles to come to terms with being in a wheelchair and Nick is still playing Russian Roulette in seedy nightclubs.  Crowds love to watch the blank-faced Nick risk his life.

Eventually, Mike realizes that Nick is still alive.  Somehow, Mike ends up back in Saigon, just as the government is falling.  Oddly, we don’t learn how Mike was able to return to Saigon.  He’s just suddenly there.  It’s the type of dream logic that dominates The Deer Hunter but somehow, it works.  Mike searches for Nick but will he be able to save his friend?

The Deer Hunter was one of the first major films to take place in Vietnam.  Among the pictures that The Deer Hunter defeated for Bet Picture was Coming Home, which was also about Vietnam but which took a far more conventional approach to its story than The Deer Hunter.  Indeed, while Coming Home is rather predictable in its anti-war posture, The Deer Hunter largely ignores the politics of Vietnam.  Mike, Nick, and Steve are all traumatized by what they see in Vietnam.  Mike is destroyed emotionally, Steve is destroyed physically, and Nick is destroyed mentally.  At the same time, the VC are portrayed as being so cruel and sadistic that it’s hard not to feel that the film is suggesting that, even if we did ultimately lose the war, the Americans were on the correct side and trying to do the right thing.  (Many critics of The Deer Hunter have pointed out that there are no records of American POWs being forced to play Russian Roulette.  That’s true.  There are however records of American POWs being forced to undergo savage torture that was just as potentially life-threatening.  Regardless of what one thinks of America’s involvement in Vietnam, there’s no need to idealize the VC.)  Released just a few years after the Fall of Saigon, The Deer Hunter was a controversial film and winner.  (Of course, in retrospect, the film is actually quite brilliant in the way it appeals to both anti-war and pro-war viewers without actually taking a firm position itself.)

In the end, though, The Deer Hunter isn’t really about the reality of the war or the politics behind it.  Instead, it’s a film about discovering that the world is far more complicated that you originally believed it to be.  De Niro is a bit too old to be playing such a naive character but still, he does a good job of portraying Mike’s newfound sense of alienation from his former home.  In Vietnam, everything he believed in was challenged and he returns home unsure of where he stands.  While John, Axel, and Stan can continue to hunt as if nothing happened, Mike finds that he can no longer buy into his own philosophical BS about the importance of only using one shot.  Everything that he once believed no longer seems important.

It’s a good film and a worthy winner, even if it does sometimes feel more like a happy accident than an actual cohesive work of art.  The plot is often implausible but then again, the film takes place in a world gone mad so even the plot holes feel appropriate to the story being told.  Christopher Walken won an Oscar for his haunting performance as Nick and John Savage should have been nominated alongside of him.  This was Meryl Streep’s first major role and she gives a surprisingly naturalistic performance.  During filming, Streep was living with John Cazale and she largely did the film to be near him.  Cazale was dying of lung cancer and he is noticeably frail in this film.  (I cringed whenever Mike hit Stan because Cazale was obviously not well in those scenes.)  Cazale, one of the great character actors of the 70s, died shortly after filming wrapped.  Cazale only appeared in five films and all of them were nominated for Best Picture.  Three of them — The first two Godfathers and The Deer Hunter — won.

The Deer Hunter is a long, exhausting, overwhelming, and ultimately very moving film.  Whatever flaws it may have, it earns its emotional finale.  Though one can argue that some of the best films of 1978 were not even nominated (Days of Heaven comes to mind, as do more populist-minded films like Superman and Animal House), The Deer Hunter deserved its Oscar.