My review was written in January 1989 after watching the movie at a Times Square screening room.
"The Iron Triangle" does a switcheroo by presenting (sympathetically) the point-of-view of a 17-year-old Vietcong soldier during the war. Novelty grabs audience's attention, but weak scripting and execution mark this one for mild box office.
Eric Weston's film argues for an equal-time look at the conflict in 1969, with two good men on opposite sides singled out for attention and ultimate bonding in adversity. Beau Bridges narrates the tale as army captain who gets to know his enemy when young Ho (a persuasive performance by newcomer Liem Whatley) captures him and protects him against a fellow Vietcong meanie, Kohl (hissible James Ishida).
The reason for the kinship between Bridges and his black pajamas counterpart is rather flimsy, but the film develops some emotion in sentimental terms. At first disconcerting, the Vietcong speaking in unaccented English works to the film's advantage. Main trick here is that pic's political stance is mushy; there are bad apples on all sides with the two heroes individuals, and the Vietnamese nationalistic wish to boot out all outsiders (Chinese, French and American) endorsed.
Acting is fine, with Oscar-winner Haing S. Ngor as a communist captain playing it straight in a smaller role. Tech credits are good.
"The Iron Triangle" does a switcheroo by presenting (sympathetically) the point-of-view of a 17-year-old Vietcong soldier during the war. Novelty grabs audience's attention, but weak scripting and execution mark this one for mild box office.
Eric Weston's film argues for an equal-time look at the conflict in 1969, with two good men on opposite sides singled out for attention and ultimate bonding in adversity. Beau Bridges narrates the tale as army captain who gets to know his enemy when young Ho (a persuasive performance by newcomer Liem Whatley) captures him and protects him against a fellow Vietcong meanie, Kohl (hissible James Ishida).
The reason for the kinship between Bridges and his black pajamas counterpart is rather flimsy, but the film develops some emotion in sentimental terms. At first disconcerting, the Vietcong speaking in unaccented English works to the film's advantage. Main trick here is that pic's political stance is mushy; there are bad apples on all sides with the two heroes individuals, and the Vietnamese nationalistic wish to boot out all outsiders (Chinese, French and American) endorsed.
Acting is fine, with Oscar-winner Haing S. Ngor as a communist captain playing it straight in a smaller role. Tech credits are good.