Redemption. That’s the word that conjures the ambit of this film’s scope. The true story of conscientious objector Desmond Doss who rescued 75 colleagues on the eponymous battle site at Okinawa, a guy who enlisted in order to serve as a medic to redeem his own feelings of violence, because of almost killing his brother as a child, because of wanting to shoot his drunken WW1 vet father (Hugo Weaving) to stop his attacks on his mother (Rachel Griffiths), because of an obligation to serve his country and stand up for the values in which he believed. Andrew Garfield gives a heart-stopping, fully realised performance as the conflicted soldier and the film’s first hour delineates his family relationships, his meeting with the woman of his life, nurse Dorothy Schutte (Teresa Palmer) in the local hospital, and his awful training at the hands of a bullying Sergeant (Vince Vaughn), a tough Captain (Sam Worthington) and a bunch of fellows who like to beat the hell out of him. His Seventh Day Adventist beliefs lead him to a court martial but his father’s intervention with a former colleague saves the day. And he arrives in Japan. By 95 minutes we are entering the second wave of assaults and it is brutal and ferocious and horrifying. “They don’t care if they live or die,” exclaims one vet of the 96th whose battalion has basically been wiped out by the Japs. The action is reminiscent – inevitably – of Saving Private Ryan‘s opening sequence: we are completely immersed in a kind of hell with killings as unimaginable as have ever been put on screen. Doss and his mate Smitty (Luke Bracey) look out for each other – they’ve overcome their initial differences and bond at night, when Doss has a terrible nightmare. And then they go back in, and the results are awful. Doss hangs around, against all the odds, rescuing whoever he can. He has prayed for help, not knowing any more if, as Dorothy accused him, his conscientious objection to combat is merely pride. He asks God for direction. So he saves lives. So many lives. One more, he keeps telling himself. One more. Written by Andrew Knight and Robert Schenkkan, adapted from this incredible true story of one man’s courage, photographed by Simon Duggan, with a rousing score by Rupert Gregson-Williams, this is a return to the fold for Mel Gibson, the meta story at work here: a man who burned a lot of boats in Hollywood is now in the running for Best Director awards and they are fully deserved. There is a bravery about bringing Christianity to the forefront of any film at present and it is remarkable that Garfield has been the lead in both outstanding recent releases. His performance here is more complete than in Silence thanks to the writing and the expansiveness of the explosive setting. Yet nothing feels forced or exceptional because every man is sharply written and there is a sense of bringing it all back home with the standout Australians in the cast (it was eventually co-financed through tax incentives there.) This story took a long time to reach the screen, with Audie Murphy expressing interest in it several decades ago, and Bing Crosby’s grandson Gregory eventually developing an initial treatment. Randall Wallace took a pass at the screenplay at one point but you have to admit that this is just right: the right people making the right film at the right time. Quite remarkable.