Joe Enders is haunted by the ghosts of 15 men who died under his command. His orders were to hold his ground. He did just that. He was the only survivor, but he obeyed his orders. Ironically, that action brought him to the attention of the brass. "I'm a fucking good marine" Joe says to Ben drunkenly as he tries to drown out the screams of the ghosts that haunt him. Joe obeys orders without question. Joe is the perfect marine to carry out an important mission. Joe is to protect the Code. What's another death to a man who let his entire squad perish to obey orders?

      The premise of "Windtalkers" is simple. Like all great drama, you give a character a burden that seems too heavy for anyone to carry and watch what happens. Writers John Rice and Joe Batteer understand that paramount rule and build on it. The result is a story which keeps the audience wondering what Joe will do when he is faced with the worst case scenario. Joe is not alone in his turmoil. Sgt. "Ox" Henderson (Christian Slater) is another guardian angel. Ox's charge is Pvt. Charlie Whitehorse (Roger Willie). Ox and Joe watch as the two Navajo's first arrive at the training base. "Don't get to close" Joe warns Ox. While Joe tries his best to distance himself from the affable Ben, Ox takes pleasure in getting to know Charlie. They share a common bond of music. After the troops ship out, Ox tells Joe, "I don't know if I can do this, I came here to kill Japs, not Marines." Simple, keep the premise simple. "Windtalkers" will keep you riveted, wondering if Joe and Ox can carry out orders.

      John Woo's American film career has been spotty. The very characteristics of his work that brought him to the eyes of American producers have been sorely lacking in his U.S. films. The good news is, in "Windtalkers," Woo hoodwinks the US moneymen and returns to his Hong Kong roots. Like Sam Peckinpah before him, John Woo made a name for himself by directing incredible action films which sank below the upper layers of the character's surface. Woo's masterpiece, "The Killer" is wrought with non-stop action. What sets the film apart from numerous other shoot-em ups was the development of the film's heroes. The antagonists in "The Killer" are mythological supermen who respect each other even though they are set on a collision course of death. "Face/Off" tried to recapture that magic, but just ended up being silly. In "Windtalkers," Woo is able to touch primal nerves in the viewer by exposing the humanity of the main characters.

      As usual, Woo proves himself to be the reigning master of violence. The battle scenes are tense, exciting and repulsive at the same time. At times, Woo lets things go overboard. During several battle scenes, Nicholas Cage comes across like "Sgt. Fury and the Howling Commandos." He never misses with his Thompson sub-machine gun. Joe runs, firing the Tommy gun with one hand. I used to have a Tommy gun. There is no way the gun can be fired in such a manner with any type of accuracy. I know that is nit-picking, but "Windtalkers" aspires to be ranked with "Saving Private Ryan." That criticism aside, "Windtalkers" does capture the brutality of close-up, hand-to-hand warfare. At times, the tension is unbearable. The characters are so well-developed that you worry about their fate.

      At times the film become schizophrenic. "Windtalkers" wants to pay tribute to the Navajo servicemen who proudly fought for their country. In that respect, the movie is a patriotic tribute to the many men who fought and died to end tyranny during WWII. The confusion arises when the soldiers question why they are fighting the war. I imagine that any combat soldier might wish he was somewhere else in the midst of battle. However, the "Vietnam" type soul searching seems out of place in a WWII film. Maybe I've been jaded by the multitude of WWII era films I've seen over the years. If I have a major problem with "Windtalkers," it is that the film can't make up its mind if it is an anti-war film or a patriotic tribute. Maybe the fact that few war films embrace both viewpoints makes "Windtalkers" unusual in this respect.

      Nicholas Cage is perfect as the haunted Joe Enders. No matter how hard he tries, Joe can't keep Ben at an emotional arm's length. Cage takes an extremely well written role and brings it to life. Adam Beach is a true find. The viewer takes this bright, shining young man under their protective wing. Whether fighting off the Japanese or bigoted fellow marines, Ben has an inner strength which draws you to him. The script succeeds in not making Ben a characature "noble red-man." Ben is all too human. He just happens to be a decent guy. During the first major battle, Ben recoils in horror at what he sees. He stares uncomprehendingly at Joe as Joe slaughters the enemy with maniacal glee on his face. Ben will understand soon enough.

      Roger Willie is quite good as Charlie Whitehorse. He and Christian Slater have good chemistry together. There are numerous other supporting characters which are well-developed and thought out. Rather than populating the squad with stereotypical characters, writers Rice and Batteer fleshed out each and every soldier. This small step on the writer's part adds an extra level of power to the film. I'm sure that combat vets remember each and every one of the men they fought with. By developing the supporting characters to such a degree, "Windtalkers" rises above numerous other WWII films.

      While not a classic, "Windtalkers" is a very good film. It is the best American film that John Woo has directed. It also tells an important story. I've known of the code-talkers for years. I'm happy that the story is finally being given such wide-spread exposure. Many Navajo served this country honorably and faithfully. This is remarkable considering the wholesale slaughter brought upon Native Americans by the US government during the 1800s.

Rusty White, 2002