April 25th, 2010
It’s been a while (three weeks, in fact) since I’ve checked in with HBO’s miniseries, and I want to go back for a moment to the first scene in last week’s “Part Six.” The episode begins in Mobile, Alabama, where Sidney Phillips nearly gives the Sledgehammer’s parents a heart attack by showing up unannounced. After being graciously welcomed into the home once their fears were put to rest, he sits at the dinner table and informs the concerned parents that Eugene is not in too much danger, and that he isn’t worried about Eugene.
However, just so we’re clear: I am indescribably worried about Eugene, just as I am worried about every character whose name I don’t even know but whose face is etched into my mind. Part of what makes The Pacific, and Band of Brothers before it, so arresting is how it puts faces to people who were marching to their death, who were part of gruesome slaughters and conditions you couldn’t imagine. While special effects and production design work to capture those conditions, the true function of the Miniseries is to force us to look the young soldiers in the eye before they are gunned down while running across an airfield, facing the harsh reality of not only war but death itself. Sidney Phillips, having seen what we have seen (and lived it far more than we could have), is lying to Eugene Sledge’s parents: he may have more faith in Eugene than in the other soldiers, but he is worried about him as much as we are.
“Part Seven” is like a trip through Eugene’s worst nightmares, with brief moments of levity shattered moments later by unspeakable horrors; for every moment of hope on Peleliu there is fifteen moments of terror, and for all of the maturity that the Sledgehammer has portrayed over these past few weeks after entering the conflict there is no one who would not break down under these conditions.