The Deer Hunter – 1978
Directors
Michael Cimino

Writers
Michael Cimino (story) &
Deric Washburn (story) and
Louis Garfinkle (story) &
Quinn K. Redeker (story)
Deric Washburn (screenplay)

Producers
Joann Carelli associate producer
Michael Cimino producer
Michael Deeley producer
John Peverall producer
Marion Rosenberg associate producer
Barry Spikings producer

Cast
Robert De Niro – Michael Vronsky
John Cazale – Stanley ‘Stosh’
John Savage – Steven
Christopher Walken – Nikonar ‘Nick’ Chevotarevich
Meryl Streep – Linda
George Dzundza – John
Chuck Aspegren – Axel
Shirley Stoler – Steven’s mother
Rutanya Alda – Angela
Pierre Segui – Julien Grinda
Mady Kaplan – Axel’s girl
Amy Wright – Bridesmaid
Mary Ann Haenel – Stan’s girl
Richard Kuss – Linda’s father
Joe Grifasi – Bandleader

Review by Gary F Taylor

The Deer Hunter (1978)
A Deeply Flawed Masterpiece,
THE DEER HUNTER opens with a long and complex sequence depicting events surrounding an elaborate wedding in the Polish-American community of a steel mill town–and then vaults several of that community’s young men into a hellish vision of the Vietnam war, from which the survivors return so completely changed that they no longer fit into the community from which they originally came.

There are several critical issues with THE DEER HUNTER. When it was first released, audiences were very positive about the film–but they complained about the opening “home town” sequence, which they described as slow and over-long. The studio accordingly edited the sequence to half its original length–but when the edited version was shown, audiences were considerably less enthusiastic about the film, and the edited portion was restored.

Today audiences still complain about the opening sequence, seldom realizing that it provides the point of comparison that makes the remainder of the film so powerful–and in any case, this fact is something that can only be recognized by viewers in hindsight, a circumstance that does not help them weather the first portion of the movie when they actually see it. Many also complain that the plot is improbable. Once the three leads (Robert De Niro, John Savage, and Christopher Walken) reach Vietnam, they are unexpectedly reunited just in time to be captured and tortured together. In the film’s most famous scene, the three are forced to play Russian roulette against each other–and although they escape, one is maimed (Savage) and the other (Walken) so emotionally traumatized that he vanishes into Vietnamese underworld, where he re-enacts the horror of his torture by playing Russian roulette as a gambling game.

But for all its glitchiness, THE DEER HUNTER is a remarkably intense, remarkably disturbing film–particularly when the discharged De Niro returns home only to find himself surrounded by old friends whose ‘broads and beer’ lives seem incredibly trivial in comparison to his own experience. He has changed; they have not; what has been lost cannot be recovered. But there can be a sort of redemption through an acceptance of the change that has been forced upon him–and by trying to bring others who have suffered to that same acceptance.

Cimino’s direction and overall vision is loose, to say the least, but he draws extraordinary performances from an extraordinary cast. De Niro gives what may be the most subtle performance of his entire career in this film. Christopher Walken’s performance (he won a Best Supporting Actor Oscar) is justly famous, and although often overlooked, John Savage is every bit his equal; Meryl Streep is also memorable in one of her earliest big-screen roles. And bitter as the film is, it still speaks of honor, integrity, hope, and bonds of friendship and community that can never be broken. Deeply flawed–but a masterpiece nonetheless.