Hilgemann CAPS Blog 2

                Very few events offer more opportunities to study intercultural communications than war and conflict. Examples are innumerable throughout human history as essentially any national or cultural history includes instances of great battles, victories, and sometimes defeat. The World War II film Saints and Soldiers tells one of these stories. The sobering tale follows a group of stranded US soldiers and a downed British airman trying to escape from behind enemy lines. It is loosely based on events surrounding the Malmedy Massacre in which dozens of American prisoners were murdered by their captors.

   

              The movie opens with a scene from the Malmedy Massacre. Four American troops are able to escape the chaos and hide from the Germans. The individuals come from vastly different backgrounds. The story largely pivots on Deacon. He acquired his nickname because “He’s the squarest guy… Doesn’t drink, doesn't smoke, doesn't even like coffee." (Abel & Little 2005). Deacon is also a very devout Christian and is occasionally sympathetic towards the German soldiers. His feelings arise from time spent as a missionary in Berlin. The young Deacon is looked after by his commanding officer, Gunderson. An even-keeled experienced soldier from Chicago, Gunderson is a consistent source of calm and reason throughout the movie. These personalities conflict sharply with the two other Americans: Kendrick, a sometimes raucous soldier from Lousiana, and Gould, a cynical medic from Brooklyn. Kendrick epitomizes the opposite of Deacon’s cultural views, at one point making the statement, “I wanna shoot me some more Krauts.” On the other hand, Gould contrasts Deacons religious views. Gould is a staunch atheist is the source of some intriguing dialog. The Americans rescue a downed British flight sergeant, Oberon Winley. The Brit has a stuck-up attitude and is the source of some conflict in the film.

                It is obvious from the breadth of the characters, that there is significant opportunity for various cultural patterns to be analyzed. The first barrier that must be overcome is the difference in backgrounds of the individual soldiers. Although there is some strife, the men come together quickly when their plight is realized. As is often the case, times of burden often bring people of different backgrounds together. The soldiers bond over conversation about things back home like the best place for jazz in New York. At one point, Sergeant Winley even suggests that they each share a secret so they can become closer together.

                The next obvious pattern to analyze is the nationality differences between the two sides fighting in the war. Naturally, there is not much good will between the two sides, but a couple of scenes epitomize how national gaps can be bridged even in times of war. Towards the beginning of the film, Deacon refuses to shoot a fleeing German soldier. He follows up his actions by stating that, “I know [the German’s], they’re just like you and me, just a different uniform.”  A much stronger connection occurs later in the film when the group is able to capture a German soldier. After Kendrick nearly shoots the German on the spot, Deacon recognizes the man. They worked together when Deacon was completing his mission work in Berlin. The pair immediately embraces and they begin to reminisce over old times. This supports Deacon’s earlier claim of the German’s just having different uniforms.

                The last major pattern in the movie is religion. There is an ongoing dialog between Deacon and Gould about the merits of religion. At one point, Deacon asks Gould if he believes in life after death. Gould responds with a definitive, “Not a chance in hell.” Gould continues to describe an instance where he was tending to a child. The child was vehemently praying to God to the point that, in Gould’s words, “He was so sincere about it, I thought it might work.” The child dies shortly after and Gould comments that, “There was nothing there.” Deacon counters with a similar experience leading to an opposite conclusion. Deacon was carrying a wounded soldier who died, and he was sure the soldier went to a better place. Another time Deacon offers Gould his bible, making the statement, “You have so many questions, you must be curious.” In the final scene, Gould acquires the book after Deacon was shot dead trying to defend the group. The scene indicates that Gould may have finally gotten over his differences with Deacon, and accepted him for what he believed.

                The film nicely supports the three major tenants of the interpretive approach. It is obvious from the reactions of the different characters to the events of war, that each soldier’s experience is subjective. Some see the enemy as just another thing to shoot at, while others see them as comrades. Similarly, it is difficult to predict what any one person will do throughout the film. This supports the interpretive claim that human behavior is creative. The final tenant states that culture is created and maintained through communication (Martin, p 52). I think that the movie shows the opposite. Common cultures can also be destroyed through lack of communication.  Overall, the interpretive approach works well for individuals, but I don’t think is as applicable for larger groups. Although one person’s individual experience may be subjective and impossible to predict, a group’s likely reaction can be based on probabilities and statistics.

                Overall, this film is a strong reminder of why international communication is vital. It shows that regardless of differences in background, nationality, or religion, men can always find common ground and work together to achieve a goal.

Abel, Adam (Producer), & Little, Ryan (Director). (25 Mar 2005). Saints and Soldiers [Motion Picture]. United States: Medal of Honor Productions.

Martin, J.N., & Nakayama, T.K. (2012). Intercultural communication in contexts (6th ed.). Boston, MA: McGraw Hill.