Spike Lee, hot off the heels of a worthy Oscar contender in BlacKkKlansman returns with another didactic history lesson in film form and I mean that in the best way possible. Da 5 Bloods is at its best when Lee is riffing within the era he’s calling back to with moments like the Hanoi Hannah recreations and Chadwick Boseman’s magnetic performance as Stormin’ Norman.
However, there are more than few stumbles. For one this film can’t help but be allover the place, the messaging is constantly tripping over itself to get to the next idea. There are innumerable homages to other Vietnam War films like Apocalypse Now and Platoon that seem to be trying to reclaim the cinematic history in some way but ultimately don’t coalesce into any clear idea. For me, the campy style of the violence both in the flashbacks and the present consistently took me out of the film. I was generally confused by the film’s commitment to serious themes while also being so ridiculous and unbelievable throughout. This is clearly an intentional choice by Spike Lee, not a result of poor filmmaking, it just didn’t work for me personally. I thought the choice to keep the older platoon members as old in the flashbacks was a cool addition as it gave some additional contrast to their idealized and idolized fallen Blood.
In terms of the technical aspects the film is clearly on the cheaper side ($40 million) but Lee does a lot with that budget and his willingness to lean into the campiness aids the overall presentation even as it creates a bit of tonal confusion. I did really appreciate the aspect ratio changes from past to present as well as the practical effects that are occasionally needed.
The film’s tone issues aside, the performances in this film are excellent, I’ve already noted Chadwick Boseman’s understate but powerful performance as the groups lost leader (mirroring the loss of leaders like Malcolm X, MLK and many others) but Delroy Lindo as Paul gives an affecting performance as a guilt ridden vet that does indefensible things but from such a convincingly haunted place that it feels more like a cry for help. Jonathan Majors, Clarke Peters, Norm Lewis, and Isiah Whitlock Jr. all turn in solid performances as well.
Overall, despite my hang-ups about the tone and some issues with the internal logic of the characters that broke my suspension of disbelief fairly often I think the film’s poignant moments and the lessons it has to impart still came across powerfully and outweighed my lukewarm interest in the actual plot.
7/10