CALENDAR section only of the Los Angeles Times, Aug. 28, 1987

• Best original "Hamburger Hill" advertisement
• Grand Opening Day movie premiere w/ review
• American Vietnam War film (1969 battle of )

A terrific issue on the premiere of the motion picture hit "HAMBURGER HILL" and perhaps no better issue could be found than this, the leading newspaper from the home of the entertainment industry - the Hollywood area's prime publication.

Note: Where else might one find authentic, poster-size ads for Opening Day showings, in the most desirable Hollywood-area newspaper - as we were lucky enough to obtain this (and others) indirectly from the Los Angeles Times' own collection? It simply doesn't get any better! In over 40 years of collecting, we have yet to see such unique & dramatic coverage with truly top-shelf, eye-catching displayability (see images).

Page 19 of this section has a review of the film headed: "HAMBURGER HILL': ON THE LEAN SIDE" with related photo. And perhaps more significant is the terrific poster-like advertisement for the film printed on it's opening day on page 3. (see images).
A quite rare issue as it would not have been saved since it contains no historically significant content. Complete "Calendar" section only with 38 pages, very nice condition.

Background: Hamburger Hill (1987) stands out as one of the most unflinchingly gritty and authentic depictions of the Vietnam War, distinguished by writer Jim Carabatsos’s perspective as a Vietnam veteran and an understated ensemble cast featuring early roles for Don Cheadle and Dylan McDermott. By recreating the brutal ten-day assault on Hill 937 by the 101st Airborne Division—where soldiers faced oppressive mud, devastating friendly fire, and entrenched North Vietnamese bunkers—the film accurately mirrors the historical absurdity of the battle, which earned its grim moniker because the infantry was ground up like meat only for command to abandon the peak days after capturing it. Set to a haunting score by Philip Glass, the movie eschews Hollywood romanticism in favor of a documentary-style realism that captures the psychological trauma, racial dynamics, and disillusionment of front-line combatants, standing alongside Platoon and Full Metal Jacket as a pivotal cinematic critique of the war’s tragic futility.