AFI Catalog of Feature Films
Movie Detail
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Platoon
Director: Oliver Stone (Dir)
Release Date:   1986
Premiere Information:   Los Angeles and New York openings: 19 Dec 1986
Production Date:   20 Mar--late May 1986 in the Philippines
Duration (in mins):   113 or 120
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Cast: Starring Tom Berenger (Sgt. [Bob] Barnes) as
  Starring Willem Dafoe (Sgt. Elias) as
  Starring Charlie Sheen (Chris [Taylor]) as
    Forest Whitaker (Big Harold) as
    Francesco Quinn (Rhah) as
    John C. McGinley (Sgt. O'Neill) as
    Richard Edson (Sal)  
    Kevin Dillon (Bunny) as
    Reggie Johnson (Junior) as
    Keith David (King) as
    Johnny Depp (Lerner) as
    David Neidorf (Tex) as
    Mark Moses (Lt. Wolfe) as
    Chris Pedersen (Crawford) as
    Tony Todd (Warren)  
    Corkey Ford (Manny) as
  Introducing Ivan Kane (Tony)  
  Introducing Paul Sanchez (Doc)  
  Introducing J. Adam Glover (Sanderson)  
  Introducing Corey Glover (Francis) as
  Introducing Bob Orwig (Gardner) as
    Kevin Eshelman (Morehouse)  
    James Terry McIlvain (Ace)  
    Dale Dye (Captain Harris)  
    Peter Hicks (Parker)  
    Basile Achara (Flash)  
    Steve Barredo (Fu Sheng)  
    Chris Castillejo (Rodriguez)  
    Andrew B. Clark (Tubbs)  
    Bernardo Manalili (Village chief)  
    Than Rogers (Village chief's wife)  
    Li Thi Van (Village chief's daughter)  
    Clarisa Ortacio (Old woman)  
    Romy Sevilla (One-legged man)  
    Mathew Westfall (Terrified soldier)  
    Nick Nickelson (Mechanized soldier #1)  
    Warren McLean (Mechanized soldier #2)  
    Li Mai Thao (Rape victim)  
    Ron Barracks (Medic)  
    Oliver Stone (Army officer)  

Summary: In September of 1967, Chris Taylor enters the Vietnam War after dropping out of college. He joins an infantry stationed near the Cambodian border, and struggles to acclimate to the physical demands of soldiering in the jungle. When Taylor vomits on a patrol after seeing the corpse of a Vietnamese soldier, Sergeant Bob Barnes reprimands him, but Sergeant Elias later comes to his aid and lightens the load in his pack. In a letter to his grandmother, Taylor describes his duties, including walking all day, digging foxholes in the evening, and going on all-night ambushes, and worries that he has made a mistake by volunteering for the war. One afternoon, Barnes orders Elias to lead his men on a night patrol, but Elias argues that it is Sergeant O’Neill’s turn. Lieutenant Wolfe, the platoon commander, believes he should be the one giving orders and confronts Barnes, who agrees begrudgingly. In the jungle late at night, Taylor wakes up fellow soldier, Junior, when it is his turn to stand watch; however, Junior quickly falls back asleep, and Taylor later wakes to find soldiers from the North Vietnamese Army (NVA) circling their camp. A firefight ensues, and Taylor is grazed by a bullet while another new recruit, Gardner, is killed. After Taylor returns from a short hospital stay, King, a fellow soldier, invites him to party with Elias and a group of soldiers called “hopheads,” who use drugs, listen to rock n’ roll music, and dance together in their bunker. While Taylor bonds with Elias’s crew, a more aggressive group of soldiers drinks beer and listens to country music while Barnes and O’Neill play poker in their bunker. On New Year’s Day, 1968, the platoon patrols the jungle and comes across a bunker recently abandoned by the NVA. Two men are killed by an explosive booby trap, while another soldier, Manny, goes missing. After the platoon finds Manny’s mutilated body tied to a tree by the river, Wolfe receives orders for the platoon to search a nearby village where Vietnamese soldiers may be hiding. The platoon rounds up villagers, mostly women and children. When Taylor finds an old woman and a mentally handicapped, one-legged man inside a hut, he shoots at the man’s foot, forcing him to hop around. As Taylor walks away, Bunny, one of Barnes’ men, laughs and continues the abuse, brutally bludgeoning the handicapped man until he dies. Outside, Barnes interrogates the village chief, who says the villagers were forced to stash weapons but he doesn’t know when the army will be back. The village chief’s wife demands to know why Barnes’s men killed their livestock, and Lerner, a soldier who speaks Vietnamese, translates, but Barnes becomes agitated and shoots her in the head. He then holds the village chief’s daughter at gunpoint, demanding more information; however, Elias arrives and hits Barnes with the butt of his rifle, ordering him to stop. The sergeants fight, but Wolfe interferes. Elias demands to know why Wolfe allowed Barnes to shoot the woman, but Wolfe feigns ignorance. In the bushes nearby, Taylor comes across a group of soldiers, including Bunny and Junior, who watch while their companion, Morehouse, rapes a young Vietnamese girl. Taylor pulls Morehouse off the girl and yells at the group, calling them animals. His comrades ridicule him, and Bunny calls Taylor “a homosexual” for interrupting. On Wolfe’s orders, the platoon sets fire to the village and leaves. Later that day, Elias informs Captain Harris that Barnes shot the village chief’s wife. Harris orders Elias and Barnes to make a report when they return to base camp, and promises there will be a court-martial if he finds that Barnes’s actions were illegal. That night Elias tells Taylor that he no longer believes the United States can win the war. On the platoon's next patrol, they are ambushed by NVA soldiers. Elias devises a plan to strike the NVA from behind, and takes four soldiers, including Taylor and Rhah, with him as he sets off to another location. Meanwhile, Wolfe provides the wrong coordinates for an air strike, and many of his men are killed. After he reprimands Wolfe, Barnes takes charge and orders everyone to retreat to helicopters. Barnes then searches for Elias’s group. When he finds Elias separated from the others, Barnes shoots him down. Moments later, Barnes runs into Taylor and tells him that Elias was killed in action. Though Taylor wants to find Elias, Barnes orders him to escape in the helicopters. As the surviving soldiers are flown out of the area, they spot Elias on the ground below, running from a group of NVA soldiers. As Elias is shot several more times and falls to the ground, Taylor glares at Barnes, realizing his previous report of Elias's death was a lie. Back at the base, Barnes hears Taylor secretly urging the other soldiers to kill their sergeant, but no one moves when Barnes dares them to try. Taylor attacks Barnes, but the sergeant overpowers him and holds a knife to his face. Although Rhah urges Barnes to back off, Barnes makes a cut under Taylor’s eye before leaving. Wolfe commands Rhah to head Elias’s squad, but Rhah argues that the squad has only six people remaining. O’Neill, who has reservations about the platoon’s upcoming mission, asks Barnes if he can take his rest and recuperation leave early, but Barnes rejects the request, claiming that everybody must die sometime. That night, Taylor and his companion, Francis, watch from a foxhole as NVA soldiers invade their camp. Though they are outnumbered, Francis and Taylor gun down several soldiers and escape the foxhole just before it is hit by a grenade. Taylor runs through the camp, on a killing spree, shooting one soldier after another. Meanwhile, Harris orders the Air Force to “expend all remaining” within the surrounding perimeter. Barnes and Taylor cross paths on the battlefield, and though Barnes attempts to kill Taylor with a shovel, the two are knocked out by an air strike. Taylor wakes up the next day, surrounded by corpses. He sees Barnes crawling through the jungle, severely injured, and shoots him dead. A search crew later finds Taylor sitting on a log, holding a grenade. Francis emerges from a foxhole and stabs himself with a bayonet in order to be taken away as a casualty. O’Neill emerges from his hiding place under the body of a dead NVA soldier. To O’Neill’s dismay, Harris gives him control over the platoon when gets back to camp. Francis informs Taylor that they get to go home since they've been wounded twice. As Taylor is lifted away by helicopter, he waves goodbye to Rhah, then holds himself and weeps.
 

Production Company: Hemdale Film Corporation  
Production Text: An Oliver Stone Film
Distribution Company: Orion Pictures  
Director: Oliver Stone (Dir)
  Joe Constantino (Prod mgr)
  Cenon Gonzales (Unit mgr)
  H. Gordon Boos (1st asst dir)
  Evan Kopelson (2d unit asst dir)
  Gerry Toomey (Key 2d asst dir)
  Pepito Diaz (2d asst dir)
Producer: Arnold Kopelson (Prod)
  John Daly (Exec prod)
  Derek Gibson (Exec prod)
  A. Kitman Ho (Co-prod)
Writer: Oliver Stone (Wrt)
Photography: Robert Richardson (Dir of photog)
  Tom Sigel (2d unit dir of photog)
  Chris Lombardi (1st asst cam)
  George Rosales (Addl asst cam)
  Caloy Salcedo (Addl asst cam)
  Victor Cecogo (Clapper)
  Mel Araojo (Film loader)
  James Fitzpatrick (Gaffer)
  Celebrado Raymundo (Best boy elec)
  Ernesto Enriquez (Asst elec)
  Charlie Rebolledo (Generator op)
  Jim Finnerty (Key grip)
  Rufo Balicas (Best boy grip)
  Rene Balicas (Dolly grip)
  Ricky Francisco (Still photog)
  Joe Dunton Cameras (Cam and lenses supplied by)
Art Direction: Bruno Rubeo (Prod des)
  Rodel Cruz (Art dir)
  Doris Sherman Williams (Art dir)
Film Editor: Claire Simpson (Film ed)
  Tom Finan (Assoc ed)
  David S. Brenner (1st asst ed)
  Julie Monroe (Asst ed)
  Toto Natividad (Asst ed)
  Frederick S. Taylor (Apprentice ed)
  Ben Salvador (Apprentice ed)
  Mary Duerrstein (Negative cutter)
Set Decoration: Roy Lachica (Key set dresser)
  Martin Raygon (Asst set dresser)
  Dwight Gaston (Asst set dresser)
  David Delina (Prop master)
  Neddie La Raquel (Asst prop master)
  Romulo Bernales (Asst prop master)
  Reynaldo Velasco (Props radioman)
  Francisco Belangue (Const mgr)
  Gavino Payawal (Asst const mgr)
  Cesar Ramido (Master carpenter)
  Alex Sta. Maria (Master carpenter)
  Teodoro Martin, Sr. (Greensman)
  Delio Dizon (Greensman)
  Angelito Felipe (Scenic chargeman)
Costumes: Wynn Arenas (Ward supv)
  Kathryn Morrison (Cost)
  Fidel Javier (Ward asst)
  Mike Ambrocio (Ward asst)
  Jim Elyea (Addl ward)
  Henry Yamballa (Master cutter)
  Tess Quismundo (Tailor)
  Maria Cecina (Tailor)
Music: Georges Delerue (Orig mus)
  Budd Carr (Mus supv)
  Segue Music (Mus ed)
  Richard Stone (Supv mus ed)
  Joanne Weiss (Mus coord)
Sound: Simon Kaye (Sd mixer)
  Taffy Haines (2d unit sd mixer)
  Donald Santos (Boom op)
  Venancio Goltiano (Cableman)
  Gordon Daniel (Supv sd ed)
  David Campling (Sd ed)
  Greg Dillon (Sd ed)
  James J. Klinger (Sd ed)
  Tony Palk (Sd ed)
  John "Doc" Wilkinson (Re-rec mixer)
  Richard Rogers (Re-rec mixer)
  Charles "Bud" Grenzbach (Re-rec mixer)
  Ryder Sound Services, Inc. (Re-rec at)
Special Effects: Yves De Bono (Spec eff supv)
  Andrew Wilson (Spec eff tech)
  Rolando Salem (Spec eff asst)
  José Marquez (Spec eff asst)
  Jimmy Intal (Spec eff asst)
  Rudy Candaza (Spec eff asst)
  Felizardo Manaloto (Spec eff asst)
  Boy Terrado (Spec eff asst)
  Pacific Title (Opt eff)
  The Optical House, N.Y. (Opt eff)
  Dan Perri (Title des)
Make Up: Gordon J. Smith (Spec makeup eff and visual continuity)
  Gionilda Stolee (Makeup and prosthetic spec eff asst)
  Derek Howard (Makeup and prosthetic spec eff asst)
  Cecille Baun (Makeup and prosthetic spec eff asst)
Production Misc: Graham Henderson (Exec in charge of prod)
  Captain Dale Dye United States Marine Corp. (Ret.) (Military tech adv)
  Pierre David (Prod exec)
  Pat Golden (Casting)
  Bob Morones (Casting)
  Warren McLean (Casting)
  Barbara Harris (Voice casting)
  Ooty Moorehead (Prod supv)
  Susan Malerstein (Scr supv)
  Angelica De Leon (Prod coord)
  Jerry O'Hara (Loc mgr)
  Elizabeth Stone (Asst to Oliver Stone)
  Mayes Rubeo (Asst to Arnold Kopelson)
  Cesar Dominguez (Chief armorer)
  Roman "Doc" Tizon (Asst armorer)
  Eliong Munoz (Asst armorer)
  Diosdado Figuero (Asst armorer)
  Dondi Pangilinan (Asst armorer)
  Stanley White U.S.M.C. (Ret.) (Asst military tech adv)
  Kathryn Clayton (Asst military tech adv)
  Mark K. Ebenhoch (Asst military tech adv)
  Robert M. Galotti, Jr. (Asst military tech adv)
  Wynne Wicker (Vietnamese tech adv)
  Eusebio Garcia (Philippine military liason)
  Ben Pagar (Wrangler)
  Bernardo Delina (Wrangler)
  Andrea Jaffe, Inc. (Pub)
  M/S. Billings (Pub)
  Publicity, Ltd. (Pub)
  Andy Birmingham (Prod accountant)
  Yvonne Eastmond (Asst accountant)
  Joe Alonsabe (Loc auditor)
  Sylvia Gajardo (Bookkeeper)
  Suzette Montalban (Cashier)
  Anne G. Garcia (Prod secy)
  John Kerr (Key prod asst)
  Gigi Vitan (Prod asst)
  Steve Rogers (Prod asst)
  Nick Nickelson (Prod asst)
  Matt Gatson (Los Angeles prod liason)
  Orlando Niu (Security)
  Dr. Antonio V. Torralba (Doctor)
  Linda Angeles (Nurse)
  Bobby Buensalida (Craft service)
  Firmo Guina (Transportation capt)
  Ben Canalita (Asst transportation capt)
  Keylite Production Services, Inc. (Prod services and equip)
  National Media Productions (Film processing)
  David Lowe Beresford, Lowe & Co. (Legal services performed by)
  Robert A. Jellen Albert G. Ruben & Co., Inc. (Insurance provided by)
  Film Finances, Ltd. (Completion guarantee)
  Carrie Hughes Trudy Salven Travel International (Travel arrangements)
  Lope V. Juban, Jr. PMP Motion Picture Productions, Inc. (Philippine coord)
  Frans J. Afman Credit Lyonnais Bank, Nederland (Motion picture banking)
Stand In: Gil Arceo (Stunt coord)
  Mark K. Ebenhoch (Stunts)
  Robert M. Galotti, Jr. (Stunts)
  Leony Vidal (Stunts)
  Rolly Silong (Stunts)
  Joseph Ramos (Stunts)
  Alex Cabodil (Stunts)
  Sonny Tuazon (Stunts)
Color Personnel: Ronald Wengler (Col timer)
MPAA Rating: R
Country: United States
Language: English

Music: "Adagio for Strings," written by Samuel Barber, arranged and conducted by Georges Delerue, used by arrangement with G. Schirmer, Inc.
Songs: "White Rabbit," composed by Grace Slick, performed by Jefferson Airplane, published by Irving Music, courtesy of RCA Records; "Okie from Muskogee," composed and performed by Merle Haggard, published by Tree Publishing Co., Inc., courtesy of Capitol Records, Inc.; "Tracks of My Tears," composed by William Robinson, Marvin Tarplin and Warren Moore, performed by Smokey Robinson and The Miracles, published by Jobete Music Co., Inc., courtesy of Motown Records.
Composer: Samuel Barber
  Merle Haggard
  Warren Moore
  William Robinson
  Grace Slick
  Marvin Tarplin
Source Text:

Copyright Claimant Copyright Date Copyright Number
Hemdale Film Corp. 22/5/1987 dd/mm/yyyy PA324854

PCA NO: 28241
Physical Properties: Sd: Dolby Stereo® in selected theatres
  col: CFI

 
Genre: Drama
Sub-Genre: Vietnam War
 
Subjects (Major): Friendship
  Rivalry
  Soldiers
  United States--History--Vietnam War, 1964--1973
  United States. Army
 
Subjects (Minor): Ambushes
  Arson
  Cambodia
  Camps
  Corpses
  Corruption
  Death and dying
  Drugs
  Firearms
  Grenades
  Gunfights
  Helicopters
  Jungles
  Murder
  Rape
  Vietnam
  Villages
  Wounds and injuries

Note: The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Ariel Coleman, a student at Oregon State University, with Jon Lewis as academic advisor.

Opening credits include a title card with the following quotation: "'Rejoice O young man in thy youth...' - Ecclesiastes." At the end of the film, a title card with the following written statement appears: "Dedicated to the men who fought and died in the Vietnam War." End credits acknowledge the government of the Republic of the Philippines "for the assistance it has extended in the filming of the motion picture Platoon .” A “Special Thanks” also appears in the end credits acknowledging the following individuals and organizations: Charles W. Ryan, Bart-Milander Associates, Inc.; Michael Cimino; and Mary Colquhoun.
       Oliver Stone makes an uncredited appearance in the final battle sequence as an unnamed Army officer.
       According to a Jan/Feb issue of American Film , Platoon was “the first commercial feature about Vietnam written and directed by a vet.” Writer-director Oliver Stone partly based the screenplay on his experience as a U.S. Army infantryman serving in Vietnam in 1967 and 1968. Stone wrote the film in 1976, though he originally came up with the idea in 1969. In American Film , Stone claimed that Charlie Sheen’s character, “Chris,” was modeled after himself, and “Barnes” and “Elias” after men he met in the war, likening Elias and Barnes to the mythological heroes Hector and Achilles in the battle of Troy.
       A 23 Oct 1984 Var article announced that the film would begin shooting in Jan 1985, with Dino De Laurentiis as producer. However, as stated in a 21 Dec 1984 LAT article, De Laurentiis dropped out of the project and Stone later filed a lawsuit against the producer, claiming that De Laurentiis agreed to finance the film at $7 million in exchange for a screen adaptation of Robert Dailey’s novel, Year of the Dragon , to be written by Stone. The writer-director upheld his end of the bargain and was paid $200,000 for the screenplay, less than half his usual fee. A 29 Mar 1985 Var news item stated that Film Packages International, Anne and Arnold Kopelson’s production company, would produce the film with a planned budget of $10-11 million and a start date of Sep 1985. A few months later, a 26 Feb 1986 Var reported that Hemdale Film Corporation, the U.K. based financier of Stone’s previous film Salvador (1986, see entry), agreed to finance the film, which would shoot for three months in the Philippines, primarily in the jungle, with one day of shooting planned in Manila. Due to political turmoil in the Philippines, principal photography was delayed one week from the 1 Mar 1986 start, as stated in a 26 Feb 1986 LAT article.
       According to production notes found at AMPAS library, actors endured a rigorous thirteen-day training period in the Philippines under the command of Captain Dale Dye, a Vietnam veteran with twenty years’ experience as a marine. In order to replicate the conditions of war, cast members slept three hours per night in foxholes they dug themselves and ate two cold food rations per day. Each day had classes on “the M-16 and squad radio procedures…plus the dreaded full-gear patrols,” the last one being an eighteen-kilometer, hilly trek. Stone hoped the training would imbue the actors with the “dog-tired, don’t-give-a-damn attitude” that defined infantrymen involved in war. Directly after the training ended, shooting began. Stone recalled in American Film that over the course of production, four to five crew members were fired, someone suffered from a “near-fatal viper bite,” monsoons came early, and the director feared for his life during several dangerous helicopter rides. 250 crew members worked on the film, and most were Filipino, according to Stone.
       The film opened in Dec 1986 to generally positive reviews and box-office success. On 3 Dec 1986, Duane Byrge of HR predicted the film would be an Academy Award contender and many would deem it “the best film of the year.” Technical aspects and performances were generally lauded, though several reviewers singled out the narration provided by Chris’s letters to his grandmother as unnecessary and distracting. Vincent Canby, in his 19 Dec 1986 NYT review, called the film “a singular achievement” and praised Stone for creating “narrative order” in a story depicting the chaos of war.
       According to a 9 Feb 1987 NYT article, the film had taken in $8.3 million in box-office receipts in less than 600 theaters over the weekend ending 1 Feb 1987, making it “the top-grossing movie in the country” that month, six weeks after its initial release. The article noted timing as part of the film’s success, postulating that had it been released ten years prior, the subject matter would have been too raw to draw a large audience. A 6 Apr 1987 Var news brief stated that the film showed at GI theaters in Europe for American servicemen and women months before the regular European release. The GI cinema release was organized by the Army & Air Force Exchange System and was “a first” according to Var , which stated that the film would normally not be made available to service members overseas while it was still playing in first-run U.S. theaters. A 15 Apr 1987 Var news item announced that, in its first three weeks of overseas release, the film made $24 million, a tally not including the U.K., West Germany, and Japan, where it had not yet been released. A 16 Oct 1988 SFChron article noted that the film had taken in $110 million in box-office receipts.
       A 2 Jun 1987 HR news item reported that Platoon was being held from release in Singapore after The Censor Board of Singapore altered the film with 28 cuts in order to make it suitable for screening, and Kopelson decided to withhold it in protest. According to Kopelson, Singapore and Malaysia were the only two countries to request cuts to the film, and Malaysia eventually banned it altogether. According to a 14 Mar 1988 LAT brief, tens of thousands of viewers watched the film “on video in Ho Chi Minh City, formerly Saigon.” It was the first U.S. Vietnam War film to be shown in the city since the communist victory and U.S. retreat in 1975.
       An 18 Apr 1987 LAT article stated that there was originally no soundtrack album to go along with the film. The difficult subject matter of the Vietnam War led several record companies, when first approached, to doubt the viability of a soundtrack; however, after the film’s release and successful performance, Atlantic Records contacted music consultant Budd Carr, and they began work on a soundtrack. Because the film only used three 1960s era songs, Atlantic wanted to add five more songs from the Atlantic catalogue. Stone and Carr chose the following: “Hello, I Love You” by the Doors, Aretha Franklin’s “Respect”, Otis Redding’s “Dock of the Bay”; Percy Sledge’s “When a Man Loves a Woman,” and the Rascals’ “Groovin,’” along with an instrumental piece from the film, “Barnes Shoots Elias” by composer George Delerue. Atlantic released the soundtrack in Mar 1987, concurrent with the 59th Academy Awards for which the film was nominated in eight categories.
       A 10 Sep 1987 HR article stated that Arnold Kopelson filed a $75 million suit against Helmdale Film Corporation, Orion Pictures, Vestron Inc., and others charging them with breach of contract and fraudulent concealment of funds. Kopelson claimed that the defendants “failed to pay compensation past due…failed to deliver true and correct accounts…[and] failed to provide copies of all distribution contracts,” amongst several others grievances. According to a 17 Dec 1987 HR article, Hemdale launched a $100 million countersuit against Kopelson and his companies Film Packages International and Inter-Ocean Film Sales for “breach of contract,” failure to fulfill his duties as producer during the production, and interfering in professional relationships between Helmdale and other companies involved in the making of Platoon such as Orion Pictures and Credit Lyonnais Bank. On 20 Jun 1989, Var reported that both Hemdale and Kopelson settled their grievances out-of-court and Kopelson won an undisclosed amount.
       Though the home video version was originally scheduled to be released 14 Oct 1987, HBO Video was ordered by the Ninth Circuit U.S. Court of Appeal to cancel the release after Vestron Inc. filed an injunction, claiming HBO Video would be committing copyright infringement. HBO had spent $3 million to promote the release, anticipated to be the “strongest rental draw of the Fall season.” As stated in a 30 Jan 1988 issue of Billboard , Vestron originally bought video rights to both Hoosiers (1986, see entry) and Platoon for $6 million; however, after Platoon became successful in theatrical release, Hemdale claimed Vestron had not fulfilled the “financial terms” previously agreed upon, then re-sold video rights to Hoosiers and Platoon to HBO for an alleged $15 million. An out-of-court settlement between Vestron and HBO was reached 15 Jan 1988. Vestron received $15.7 million – paid, in part, by Hemdale – and both HBO and Vestron were granted partial distribution rights: HBO had the right to sell Platoon videocassettes until 31 Aug 1988, at which point Vestron was allowed to release their home video version beginning 14 Oct 1988. According to an 11 Oct 1987 LAT brief, the home video was initially sold for $99.95 per unit and included “an introductory forty-five-second ‘tribute’ to vets from Chrysler Motors and its Jeep Eagle Division.” Chrysler CEO Lee Iacocca appeared in the tribute.
       A 6 Apr 2006 HR news item announced that the film would screen at the 2006 Cannes Film Festival to celebrate the rerelease of the DVD; Platoon was originally rejected by the selection committee for the 1986 Cannes Film Festival.
       Platoon received four Academy Awards in 1987 for "Best Picture, “Best Director,” “Best Film Editing,” and “Best Sound.” Both Willem Dafoe and Tom Berenger were nominated for “Best Actor in a Supporting Role”; Robert Richardson was nominated for “Best Cinematography”; and Oliver Stone was nominated for “Best Screenplay.” The film was also ranked #86 on AFI's 100 Years 10th anniversary list.
       A 26 Jan 1987 HR brief reported that American Broadcasting Company (ABC), National Broadcasting Company (NBC), and Columbia Broadcasting System (CBS) all planned to pitch television adaptations for the film to Kopelson, but the producer would not make any quick decisions because he was simultaneously considering offers for theatrical sequels. At a party following the 59th Annual Academy Awards ceremony, Hemdale chairman and CEO, John Daly, stated that a sequel was planned and Stone had already been paid to write it, as stated in a 1 Apr 1987 HR article.
       A 1 May 1987 LAHExam announced the arrival of a board game based on the film.
 

Bibliographic Sources:   Date   Page
American Film   Jan/Feb 1987   pp. 17-19, 56.
Billboard   30 Jan 1988   p. 3, 88.
Billboard   19 Mar 1988.   
Daily Variety   19 Aug 1987.   
Daily Variety   12 Oct 1987   p. 1, 19.
Daily Variety   31 Dec 1987   p. 1, 6.
Daily Variety   9 Dec 1988.   
Daily Variety   20 Jun 1989   p. 1, 18.
Hollywood Reporter   23 Oct 1984.   
Hollywood Reporter   20 Feb 1986   p. 3, 24.
Hollywood Reporter   27 May 1986.   
Hollywood Reporter   3 Dec 1986   p. 3, 28.
Hollywood Reporter   26 Jan 1987.   
Hollywood Reporter   1 Apr 1987   p. 1, 5.
Hollywood Reporter   17 Apr 1987.   
Hollywood Reporter   2 Jun 1987.   
Hollywood Reporter   10 Sep 1987   p. 1, 9.
Hollywood Reporter   17 Dec 1987   p. 1, 32.
Hollywood Reporter   6 Apr 2006.   
LAHExam   26 Jan 1987.   
LAHExam   1 May 1987.   
Los Angeles Times   21 Dec 1984   Section H, p. 1, 24.
Los Angeles Times   19 Dec 1986   Calendar, p. 1.
Los Angeles Times   26 Feb 1986   Section F, p. 1.
Los Angeles Times   18 Apr 1987   Section E, p. 1, 8.
Los Angeles Times   11 Oct 1987   Section K, p. 26.
Los Angeles Times   14 Mar 1988.   
New York Times   19 Dec 1986   Section III, p. 12.
New York Times   9 Feb 1987   Section C, p. 13.
San Francisco Chronicle   16 Oct 1988   p. 39.
Variety   29 Mar 1985.   
Variety   26 Feb 1986.   
Variety   3 Dec 1986   p. 19.
Variety   8 Apr 1987.   
Variety   15 Apr 1987.   
Variety   20 Jun 1989.   

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