Born on the Fourth of July

Still of Tom Cruise and Ron Kovic in Born on the Fourth of JulyStill of Tom Cruise and Willem Dafoe in Born on the Fourth of JulyStill of Oliver Stone and Ron Kovic in Born on the Fourth of JulyStill of Tom Cruise in Born on the Fourth of JulyStill of Tom Cruise in Born on the Fourth of JulyStill of Tom Cruise in Born on the Fourth of July

Plot

The biography of Ron Kovic. Paralyzed in the Vietnam war, he becomes an anti-war and pro-human rights political activist after feeling betrayed by the country he fought for.

Release Year: 1989

Rating: 7.2/10 (42,223 voted)

Critic's Score: 75/100

Director:
Oliver Stone

Stars: Tom Cruise, Raymond J. Barry, Caroline Kava

Storyline
The biography of Ron Kovic. Paralyzed in the Vietnam war, he becomes an anti-war and pro-human rights political activist after feeling betrayed by the country he fought for.

Writers: Ron Kovic, Oliver Stone

Cast:

Tom Cruise

Ron Kovic


Raymond J. Barry

Mr. Kovic


Caroline Kava

Mrs. Kovic


Josh Evans

Tommy Kovic


Jamie Talisman

Jimmy Kovic


Anne Bobby

Suzanne Kovic


Samantha Larkin

Patty Kovic


Tom Berenger

Recruiting Gunnery Sgt. Hayes


Frank Whaley

Timmy


Jerry Levine

Steve Boyer


Richard Panebianco

Joey Walsh


Rob Camilletti

Tommy Finnelli


Stephen Baldwin

Billy Vorsovich


Michael McTighe

Danny Fantozzi


Richard Haus

Recruiting Sgt. Bowers

Taglines:
A story of innocence lost and courage found.

Release Date: 20 December 1989

Filming Locations: Creekside Drive, Dallas, Texas, USA



Box Office Details

Budget: $14,000,000

(estimated)

Gross: $70,001,698
(USA)



Technical Specs

Runtime:



Did You Know?

Trivia:

Ron Kovic and Oliver Stone wrote much of the script together at a cafe in Venice, California.

Goofs:

Anachronisms:
A 1957 Chevrolet convertible (released in the fall of 1956) is used in the 1956 Fourth of July parade.

Quotes:

Ron Kovic:
People say that if you don't love America, then get the hell out. Well, I love America.



User Review

Haunting and disturbing, but ultimately redemptive

Rating: 10/10


(Note: Over 500 of my movie reviews are now available in my book "Cut
to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it
at Amazon.)

I avoided this when it came out in 1989 having seen Coming Home (1978)
and not wanting to revisit the theme of paraplegic sexual dysfunction
and frustration. I also didn't want to reprise the bloody horror of our
involvement in the war in Vietnam that I knew Oliver Stone was going to
serve up. And Tom Cruise as Ron Kovic? I just didn't think it would
work.

Well, my preconceptions were wrong.

First of all, for those who think that Tom Cruise is just another
pretty boy (which was basically my opinion), this movie sets that
mistaken notion to rest. He is nothing short of brilliant in a role
that is enormously demanding–physically, mentally, artistically, and
emotionally. I don't see how anybody could play that role and still be
the same person. Someday in his memoirs, Tom Cruise is going to talk
about being Ron Kovic as directed by Oliver Stone.

And second, Stone's treatment of the sex life of Viet Vets in
wheelchairs is absolutely without sentimentality or silver lining.
There are no rose petals and no soft pedaling. There was no Jane Fonda,
as in Coming Home, to play an angel of love. Instead the high school
girl friend understandably went her own way, and love became something
you bought if you could afford it.

And third, Stone's depiction of America–and this movie really is about
America, from the 1950s to the 1970s–from the pseudo-innocence of
childhood war games and 4th of July parades down Main street USA to
having your guts spilled in a foreign land and your brothers-in-arms
being sent home in body bags–was as indelible as black ink on white
parchment. He takes us from proud moms and patriotic homilies to the
shameful neglect in our Veteran's hospitals to the bloody clashes
between anti-war demonstrators and the police outside convention halls
where reveling conventioneers wave flags and mouth phony slogans.

I have seen most of Stone's work and as far as fidelity to authentic
detail and sustained concentration, this is his best. There are a
thousand details that Stone got exactly right, from Dalton Trumbo's
paperback novel of a paraplegic from WW I, Johnny Got His Gun, that sat
on a tray near Kovic's hospital bed, to the black medic telling him
that there was a more important war going on at the same time as the
Vietnam war, namely the civil rights movement, to a mother throwing her
son out of the house when he no longer fulfilled her trophy case vision
of what her son ought to be, to Willem DaFoe's remark about what you
have to do sexually when nothing in the middle moves.

Also striking were some of the scenes. In particular, the confession
scene at the home of the boy Kovic accidentally shot; the Mexican
brothel scene of sex/love desperation, the drunken scene at the pool
hall bar and the pretty girl's face he touches, and then the drunken,
hate-filled rage against his mother, and of course the savage hospital
scenes–these and some others were deeply moving and likely to haunt me
for many years to come.

Of course, as usual, Oliver Stone's political message weighed heavily
upon his artistic purpose. Straight-laced conservatives will find his
portrait of America one-sided and offensive and something they'd rather
forget. But I imagine that the guys who fought in Vietnam and managed
to get back somehow and see this movie, will find it redemptive.
Certainly to watch Ron Kovic, just an ordinary Joe who believed in his
country and the sentiments of John Wayne movies and comic book heroics,
go from a depressed, enraged, drug-addled waste of a human being to an
enlightened, focused, articulate, and ultimately triumphant spokesman
for the anti-war movement, for veterans, and the disabled was wonderful
to see. As Stone reminds us, Kovic really did become the hero that his
misguided mother dreamed he would be.

No other Vietnam war movie haunts me like this one. There is something
about coming back less than whole that is worse than not coming back at
all that eats away at our consciousness. And yet in the end there is
here displayed the triumph of the human will and a story about how a
man might find redemption in the most deplorable of circumstances.