(Second viewing, On Cable TV, October 2016) I saw The Deer Hunter decades ago, but couldn’t remember much other than the Russian roulette sequences. Watching it again reminded me why. As much as there’s a lot to like in the story of blue-collar workers being irremediably damaged by their Vietnam experience, the film is just too long and meandering to be as effective as it could be. The interminable wedding sequence springs to mind as the worst culprit here (boo, director Michael Cimino, boo) although there’s enough fluff elsewhere in the film to make the running time balloon even higher. At least the film is blessed with a few terrific performance, the best being a very young Robert de Niro as a quiet hunter, an equally young Christopher Walken as the one who goes crazy, and Meryl Streep as the object of their affection. Great sequences also fill the movie, but the connective material between them kills much of the film’s urgency, and takes away from the relatively straightforward plotting. The Deer Hunter’s then-daring portrait of soldiers as real people without glorifying war heroics doesn’t come across as clearly now, given the steps taken to humanize warriors in later movies. A classic for a good reason, The Deer Hunter is not a bad piece of work—although its emotional impact is bound to vary widely.