Welcome Home (1989) User Reviews

"Shoulder-high we bring you home, And set you at your threshold down"

[boblipton · 6/10 · 6 November 2018]

Seventeen years after his remains were supposedly delivered to the United States, Kris Kristofferson returns to the United States from his refuge in Thailand, where he had built a new life. His wife, Jobeth Williams, has married Sam Waterston, and his son, Thomas Wilson Brown, thinks of Waterston as his father. Kristofferson's mother has died, but his father, Brian Keith, is overjoyed. Kristofferson tries to fit back in, with the Army on his back because his return would be inconvenient.

It's Franklin J. Schaffner's last movie, released a couple of months after his death. Like many of his movies, it pits the lone outsider against a paranoia-inducing system he doesn't understand. However, unlike his earlier movies, the telling of this one is more standardized. The camerawork by Fred Koenkamp is solid but not flashy. The editing by Robert Swink is efficient. The story is carried by the actors -- but then Schaffner had always been a fine director of actors.

Still, the net result is a soap opera tinged with We-Were-Betrayed paranoia. Schaffner was held in high esteem by his peers; he was President of the Directors Guild of America at the time of his death. Yet he had become a director-for-hire on all sorts of projects that seem beneath his standards. Early on, he had directed prestigious works for TV, projects like the first version of TWELVE ANGRY MEN, PETER IBBETSON and ANTIGONE; his movies had included THE BEST MAN, PATTON and PAPILLON. By the 1980s, he was directing -- or trying to -- Luciano Pavarotti in YES, GIORGIO.

There is a cycle for a creative artist: young and full of ideas, older and in control of his craft. The fortunate retire at their peak. Those who continue the race after their time has passed seem to be worn out, their later works subject to the apologies of critics who don't seem to understand that talent, ability and opportunity are fleeting things, and Hollywood, and the applause of the audiences even more so -- especially egged on by critics, always looking for the bronzen god's clay feet. I think that Schaffner did as much with this movie as he could, but script and budget failed him. All he had left was the actors, and he got a lot out of them.

Not completely gripping in drama but still entertains

[breakdownthatfilm-blogspot-com · 6/10 · 20 February 2017]

War veterans can unfortunately suffer from some pretty heavy stuff. War in general causes problems for almost everybody all the time. It's not a nice activity to par-take in. Soldiers go off to fight; some come back while others never return. It's a sad truth, but that's sometimes the normality of it all. When marines go off to battle, most return with some kind of post traumatic stress (PTS) that changes the way they behave. This ranges from person to person and the intensity can vary too. But for those who lose their loved ones at war, nobody enjoys receiving a box with their offspring's name plate in it. On the other hand it's even more of a shock to the system when that individual returns from combat. After long periods of waiting, family members can get worried. The relief of knowing and being able to see somebody again after an extended time is overwhelming. But what is it like when someone is realized to be living when originally confirmed dead? This causes a whole new scenario.

Kris Kristofferson is Jake Robbins, a Vietnam war vet who was supposedly killed on duty in 1970. When in reality, he was being taken care of by some natives. Seventeen years later he wakes up to discover he's back in the states and missing his family. He's then accompanied by Col. Barnes (Trey Wilson) who informs him that he cannot return back to Vietnam to see his kids for word getting out that there might be some survivors left behind. Frustrated with the options he's given, he returns home to get some closure with his dad (Brian Keith). He also visits his now moved-on wife Sarah (JoBeth Williams), his son Tyler (Thomas Wilson Brown) and step-father Woody (Sam Waterston). With a screenplay by Maggie Kleinman, who would only write for one more movie being Desperate Choices: To Save My Child (1992), the script is all right for a basic story. It does have some unanswered questions and plot threads, but overall it's solid for a premise. This makes it watchable, but on a predictable level.

What doesn't make sense in Kleinman's script are some unresolved plot components. The most noticeable lack of clarity is when it comes to Jake's return. Who picked up Jake from Vietnam? Did he make it back himself? The scene before he woke up in the states was being taken to a hospital in Thailand. Where was the transition? Another problem arises with some character's unresolved actions. An act or two are committed that seem like a reconciliation would be in good order. However that never happens either and it's kind of a big deal. One should not be able to walk away feeling fine with themselves. Aside from these two concerns, the final point to be made is that the structure of the story is very predictable. From start to finish the long-term experience doesn't bring up many new twists or surprises along the way. The plot is quite linear in a very practical sense. There isn't much to it other than how certain characters cope with Jake's return. And the end result is none too shocking.

Yet that doesn't mean watching this movie is boring. All members involved that were listed act the way one would expect. The characters are very relatable in the situations they encounter as well as their reactions. Watching Kristofferson play Jake and seeing him make mistakes along the way is the right kind of development. For anyone who's been claimed as long gone and returns, the feeling is confusing. You want to return, but it's hard to say whether that might open up old wounds or not. Topics like these are mixed bags when it comes to feelings and it's a risky gamble. Sarah, Woody and Tyler's revelations when they find out of who Jake is just as sympathetic. One of the best scenes though was when Jake's father finally sees him again. It's a gratifying experience. The human drama and emotions are clear. Brian Keith also gives some great insight to Jake after he contemplates how he's a deserter. That's blown right out of the water after his dad talks.

Directing this feature for the final time was Franklin J. Schaffner. With what has been presented on screen as much as the script struggled to clear up some things, Schaffner's direction was mighty helpful. Without him, the story would not have been as engaging. Schaffner had also directed The Boys from Brazil (1978), Patton (1970) and Planet of the Apes (1968). For visuals, Fred J. Koenekamp handled the camera. Since this was a film with a much smaller budget, whatever was captured was the greater part real. There aren't too many distinct shots but the scenery captured is pretty. Much of the background contains suburban town roads, to back country lake houses. Koenekamp also worked on The Hunter (1980) and The Swarm (1978). Lastly, famous composer Henry Mancini produced the film score. Another great aspect to this feature was that Mancini created a reoccurring main theme. Even Kristofferson's good buddy Willie Nelson made a song for the film. This is memorable, it's just sad that the soundtrack wasn't released.

The procession of its story is as predictable as one would think and there are moments that go forgotten, but this is still an enjoyable film. The characters are likable and have understandable motivations. The cinematography is pleasing and so is the music.

Emotionally satisfying

[Boyo-2 · 7 September 2001]

The scenes of high emotion work extremely well in this drama. However, not all the drama delivers. Some of the dialogue is strained and there are stretches when I honestly had no idea what anyone was talking about.

Kristofferson is very good for the most part but is wooden at times too. Jobeth Williams, Brian Keith and the late Trey Wilson make an impression in their scenes. Sam Waterston is not given a whole lot to do but stand around and look confused but he does have one great scene with his stepson regarding the return to life of Kristofferson.

The end might have been needlessly sappy, but it got to me anyway.

Unwelcome Home

[[e-mail] · 10/10 · 29 May 2014]

Kris Kristofferson is a Vietnam Veteran who escapes from the Jungle 17 years after being shot down. Forced to leave his Cambodian wife and family behind at the Thai border, he has to fight red tape and military officials who want to cover up his return, in order to get his family back to America. He also has to help his family in America come to terms with him being alive, among other things.

As this was apparently drawn from a true story, you will be shocked at what America feels able to do to it's heroes in order to save face.

Brian Keith, Jo-Beth Williams, and Sam Waterston are among the others to make up a cracking cast. Tense, dramatic, and tautly and leanly written.

What a nicely done film!

[nleobold · 9/10 · 3 May 2002]

This was a really nice surprise. I was up late last night and couldn't fall asleep. Not really thinking twice, I turned on my TV and HBO was on, and this film was just beginning. Luckily I saw the whole thing, and I am very happy I did. Because this film was very good. The actors were well-cast, and they did a surprisingly good job. Kris Kristofferson delivered a solid performance, there was a lot of substance behind his lines. This film made me realize he's a good actor. Brian Keith was great as his father, as was Trey Wilson playing the Colonel (this was Trey Wilson's final role before his untimely death. Too bad, he was a quality actor and seemed like a nice guy). Jobeth Williams also did a nice job as Kristofferson's American wife. As far as the direction, I had no idea Franklin J. Schaffner was the director until I read the review in Leonard Maltin's Movie Guide(this was the last film he ever made). Now I understand why this movie was so good. Schaffner also directed Patton, a truly great movie(I haven't seen his other great film, Papillon). While I was watching "Welcome Home", I said to myself, "this director really knows what he's doing," not knowing that Schaffner had directed it. There's one really beautiful scene in a Thai orphan refuge, enough to bring tears to my eyes. Not only was this sensitively directed, but it was also directed in a very economical and taut way. There is nothing wasted in Schaffner's effort. The script was one reason this film is so good. The writer doesn't weigh the actors down with too many lines. It was written very simply but very effectively. It just shows you that a lot can be said with few words. This film also made me proud to be an American, at the same time that it showed you how beautiful ALL people are.

Schaffner`s finishing touch.And he finishes off in style.

[Thomas-140 · 8/10 · 8 July 2000]

This film is good,but not Schaffner`s best. My favourite is Papillon and Patton,but this is a sad and very nice film. Kris Kristoffersen is good in this movie and really makes a difference. I am going to miss Schaffner and this is his last film.

A good film by a great director! 7,5/10

I always say this is the worst movie I've ever seen

[pageclot · 4 October 2000]

I saw this movie in the theatres in 1989, and it's horrible memory lingers on to this day. What to mention first? The gushing tears that too often grace the character's cheeks? The horrible plot device of having JoBeth Williams kneel in front of her record player crying while Your Song by Elton John plays in the background? The sappy teenaged son of JoBeth and Kris?

The convenient million or so dollars that Uncle Sam drops in Kris' lap, allowing him to buy a house and a car, unlike most other Vietnam Vets?

Or the ease and guiltlessness with which JoBeth hops in the sack with Kris again, after all these years, and despite his deathmasklike craggy features, and despite being married to a much nicer guy, Sam Waterston, who plays the cuckold well, but is totally wasted in this picture.

Insipid soundtrack and gushy spineless characters. Not a good combo.

How I wish Kris' former family turned their backs on him, after asking a few penetrating questions like "Where the hell have you been?" or "Why didn't you try to get in touch with us?" or "How's about moving to another part of the country and leaving us alone?"

Soundtrack

[holford-michael · 10/10 · 22 June 2005]

Hi I have been looking 4 the soundtrack or a song from the film, does anyone know who sung the title song? I think it was called welcome home or coming home.

It is played throughout the film and for the end credits please can anyone help either the artist and/or title of song thanks mike this is for all you movie buffs lets see if you know your stuff

Hi I have been looking 4 the soundtrack or a song from the film, does anyone know who sung the title song? I think it was called welcome home or coming home.

It is played throughout the film and for the end credits please can anyone help either the artist and/or title of song thanks mike this is for all you movie buffs lets see if you know your stuff

A Very emotional movie, especially if you were alive during the Vietnam War

[anitaken · 10/10 · 9 February 2023]

The Vietnam War MIA issue was always a thorny one, and in the years following the end of that savagely divisive conflict, when negotiations with Vietnam over normalization of relations would have made it embarrassing for our government to admit we had been involved in ostensibly neutral countries such as Cambodia, you have to wonder if there was an awareness of MIAs whose survival was known, but who were simply and conveniently forgotten. This is the dilemma of Jake Robbins (Kris Kristofferson), a fighter pilot shot down in Cambodia, captured and held in one of the infamous "cages", who manages to escape, but is wounded and would probably have perished in the jungle had he not been rescued by a young woman. Jake, believing that he will never be able to find a way to get home, falls in love with his rescuer and has two children with her. Then, years later, sick and hallucinating, he is carried by the wife and her people to receive medical assistance in Thailand, where he falls into the custody of the U. S. military and awakens from a near-comatose condition to find that he has been separated from his family and is a virtual prisoner because of the potential embarrassment to the government of having it get out that there may have been MIAs, known to be alive, who were simply abandoned by their government. The impact of Jake's return upon his American family -- including the father (Brian Keith) who is still mourning his son, the former wife (JoBeth Williams), who as a widow found solace in the arms of another fine man (Sam Waterston), and the son, that Jake didn't know he had, who is so threatened by the return of a man who was believed by him to be a dead hero, that he starts going off his adolescent rails. The acting by Kristofferson and Sam Waterston -- two enormously underrated actors -- is superb. Each represents a threat to the other, yet they never miss a beat in consideration for each other's feelings in this mess they both find themselves trapped in. JoBeth Williams turns in a fine performance as well as the wife who never really stopped loving her husband when he was safely dead, yet is troubled that the return of the real man makes her confused and sad. Brian Keith is always good, and as the father who was so proud when is son went off to fight until the Air Force sent him a flag-draped box with his son's remains, he absorbs the tragic lesson that Wwar is much more glorious in the abstract than in the concrete and real. That is why the Vietnam Memorial, that staggering wall of name after name, is so incredible. It does not glorify our martial past. On the contrary, it almost begs the visitor, who stands there stunned, to question whether it was worth it. All of these young men and women -- surely they did their duty, but did their government send them off to die in vain? And if not, then isn't the sacrifice of each one so compelling that we should have been willing to move heaven and earth to absolutely account for everyone who served? Those are the uncomfortable questions this film forces you to confront. The fact that the film is not up there with some of the best of the genre in garnering critical plaudits which might have made it a great success, instead of an underappreciated jewel, suggests that we prefer to preserve our myths about war. If I were to offer some critical comments, I would point out that (1) the performance of the actor who plays the teenage son is underwhelming, (2) the availability of a Senator who can help Jake resolve his problem of dealing with the threat of a court-martial if he doesn't toe the line in keeping quiet is just a little too convenient to be realistic, and finally, (3) the ending is spoiled by having one of the heroines of the film -- the Cambodian wife, who saves Jake not just once, but twice -- die. If anyone deserves to be part of a satisfying ending, she does. Finally, in response to a query about the theme song by another reviewer, the song is called "Welcome Home", written by Alan and Marilyn Bergman, and it is sung by Willie Nelson. I do not believe there was ever a soundtrack released. As for the review by the reviewer who wrote such a nasty and personal attack on actor Kristofferson ("deathmasklike craggy features"?), next time try to write something a potential viewer of a film might actually find helpful, instead of an exercise of pure spleen.