— THE FIRST CASUALTY OF WAR IS SPOILERS. —
Matt, after watching Platoon a couple nights ago, you said that you didn't like how Oliver Stone ended the film; specifically, you said that the fact that we see Taylor (Charlie Sheen) being evacuated from the battlefield and saying goodbye to some of the survivors from his unit meant that Stone didn't have any "stones" (in the parlance of our times), and that film would have been much more "effective" if it had ended with Taylor shooting Sgt. Barnes (Tom Berenger). I disagreed at the time, but hadn't had the chance really to articulate why (beyond the fact that we wouldn't have gotten that great final epilogic voice-over). Now that I've had the chance to think about it a little, I'd like to explain why I think the right ending for Platoon is the ending it has.
Platoon is told in a realistic style, and its tone is reflective and mournful. You see this in its straightforward structure and visual style, in the voice-overs, and in the score. That being the case, it makes sense to follow Taylor off the battlefield, into the beginning of his post-Vietnam life, as he reflects on what the experiences we've just witnessed meant to him, easing the audience out of the film. Ending it with a sudden cut to black (or something like that) after he shoots Barnes would have been completely out of place in terms of the tone the film had established. Something like that would have been more fitting for a film like Natural Born Killers, with its much more stylized . . . well, style, and its shocking and aggressive tone. Ending the film that way would have had a jarring effect that the rest of the film just wasn't going for. (Of course, a lot of the events depicted are shocking and jarring, for instance Barnes's shooting of the Vietnamese woman, but the way they're depicted is not, in terms of editing and photography.) It would be much more in keeping with what would become Stone's signature visual and editing style in later films of his like The Doors, JFK, and the aforementioned Natural Born Killers, or with Kubrick's nearly contemporaneous Full Metal Jacket, which, from its opening shots of conscripts having their heads shaven to the strains of "Hello Vietnam," informs the audience of its more over-the-top and satirical tone. Ending Platoon as he did was perfectly in keeping with the seriousness and realism that Stone had spent the prior two hours establishing, and so was quite effective.
I certainly don't see the ending as a sign of Stone's chickening out by giving the audience a more upbeat ending than the ending you suggested. First off, it's not really much of a "happy ending": Most of the unit is dead (either from the North Vietnamese or the napalm bombing), we see bulldozers pushing mounds of corpses into mass graves, and our protagonist weeps as the voice-over talks about how he carried the war's emotional scars for the rest of his life. Moreover, we don't need those final scenes to know that Taylor was probably going to make it off the battlefield: He was obviously wounded badly enough to be hospitalized, but not so badly that he would die before U.S. troops found him (as they almost certainly would, since they'd beaten off the North Vietnamese assault (however pyrrhically) and would then search the battlefield for survivors and collect the dead). Even if the film had ended as you suggested, it wouldn't have been any more or less a "happy ending," except for its jarring emotional effect, which, as I explained above, would have been inappropriate.
In any number of other films, the ending you suggested would have been great. But it would have been tonally and stylistically out of place in Platoon.
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