Jackson is a Buffalo Soldier who basically crashed a small Union company’s foxhole, after a Confederate officer wounded him, perhaps mortally. Conrad and old grizzled Wilson believe some of the men should carry him to the distant field hospital, but Clark (presumably hailing from border state hill country) argues Jackson would probably die on the journey and the medics maybe wouldn’t take him anyway.
There is a similar ethical dilemma for the company when then film advances to WWI. They have captured a German soldier in their trench at an inconvenient time, so their sergeant wants to kill him and be done with it. Again, Wilson objects and so does Jackson, a soldier from a black regiment, who is somewhat more readily accepted by the white doughboys.
Easily, the best of the three stories is the conclusion in Iraq—but at least a country mile. By now, Jackson is the leader of the squad. There is no internal dissension within the group and they will face no ethical dilemmas. Instead, they will merely try to survive, without leaving any men behind (including Gale, a new addition to the platoon), when they are separated from their convoy and ambushed by insurgents with an RPG launcher.
Of the three installments, the dialogue of the Iraq section sounds the most like the military talk I’ve heard (from family). It also forgoes the anti-war moralizing, instead portraying the courage and camaraderie of the U.S. military. It actually makes Foxhole more effective as anti-war critique, because it shows two sides to the combat experience (and the dangers and difficulties they entail), while inviting sympathy for the men and women in uniform.
It is also the tensest and most skillfully executed. In this case, the definition of foxhole is expanded to include the Humvee the soldiers are dug into. Fessenden (son of Larry, on-board as a producer) uses the blinding sand to narrow the audience’s field of vision, creating an uneasy feeling that a fatal shot could come from anywhere, at any time.
