Platoon (1986) is a distinguished war film in that its main source of antagonism doesn’t come from the individuals on the other half of the battlefield, but from within. It’s a scene-to-scene depiction of the Vietnam War told through the eyes of new grunt Chris Taylor (Charlie Sheen), where the primary source of drama comes from battalion commanders Sgt. Barnes (Tom Berenger) and Sgt. Elias (Willem Dafoe). These men, while separate characters, represent two sides of the human condition. They depict the duality of man and the way in which a person’s attitudes and emotions can be swayed one way or the other through the horrors of war. Though the Viet Cong and enemy soldiers are the “foes” of any Vietnam story, Platoon’s greatest dramatic moments exist within the contention between these two men and the loyalties of the soldiers swayed towards each man’s faction within the regime.

As aptly written by Harry Ridgway on Letterboxd, “Platoon’s examination of brutality and duality is unflinching, stark, scathing and more insightful than most adaptations of this tumultuous conflict. Leaping head first into turbulent jungles and disharmonic divisions, Oliver Stone’s magnum opus challenges any existing glorification of warfare, insisting that all do not flee from its horrors. Those who die, perish in excruciation, but those who escape are perpetually scarred with the memories of such pandemonium and horror. War shapes and haunts the soldiers eternity, and Platoon supports this with the utmost fervour and virtuosity.”

Platoon’s dueling sergeants effectively stand in as the angel and devil on the shoulder of Chris Taylor, the young grunt who idolizes both men for very different reasons. Barnes is a war-hardened veteran whose indestructible nature and determined attitude are the core credentials of a true soldier. He’s been shot seven times and is built for battle like a living G.I. Joe, yet he’s lost his grip on humanity and acts from a more basic calling of brutality. Elias is the contrast, a talented soldier and commander who still respects the concept of human existence, but is overshadowed by the intensity of Barnes, and relies on drugs and distractions to help him cope with the terrible environment in which he’s living. Taylor is caught in the middle, ripe with an internal struggle to fight and defeat the enemy while maintaining his humanity. It raises the question of whether a person can truly be both: Is it possible to kill and destroy the lives of others and still call yourself a human being? Is it possible to survive this situation and maintain humanity? It’s a realistic and poignant juxtaposition of attitudes and contentions.

Barnes is an image of quick decisions and mindless attack, while Elias operates from a rational position of calm integrity. When Elias is betrayed by Barnes, he still greets him with a smile, as if satisfied with his ability to operate on optimism despite the tragedies of war that surround him, and his demise being brought on not by the enemy of war, but the enemy of morality.

“I am the truth,” Barnes says. For him, the dark side of nature, his philosophy of brutality and ignorance of the truth about how he survives is the only way to exist. It’s interesting that Taylor is initially drawn to Barnes over Elias, giving the role of abuser a try before breaking down and taking the high road. Oliver Stone shows Taylor willing to take that role sooner than the path of Elias, as if to indicate it’s easier to become a monster during war than to uphold a sense of virtue. But as the film suggests by its ending, one can maintain their humanity and uphold decency in the worst situation imaginable.