ABSTRACT
In criticism of Platoon, Oliver Stone's allegorical methods and sources have commonly been misunderstood. At best, the Christian motifs that distinguish Stone's narrative of war and personal growth are only passingly recognized. Religious appreciations of war are common in American popular culture, perhaps no more so than with Civil War subjects, as Kevin Costner's revisionist Dances with Wolves, with its Major Dunbar riding as a crucified Christ between the opposing Union and Confederate forces, vividly reminds people. The names of the characters are the clearest indicators that Stone has appropriated biblical models. "Chris" is usually a short form of Christopher or Christian, names that secondarily or directly refer to Christ. And indeed, Chris's character does ultimately constellate about Christ. After the crucifixion, Stone moves quickly into the patterns of the Apocalypse. But there is a final play on the gospel story of Jesus's burial and resurrection.
