By BOB HERBERT
Bryan Anderson, a 25-year-old Army sergeant who was wounded in Iraq, was explaining, on camera — to James Gandolfini, of all people — what happened immediately after a roadside bomb blew up the Humvee that he was driving.
“I was like, ‘Oh, we got hit. We got hit.’ And then I had blood on my face and the flies were landing all over my face. So I wiped my face to get rid of the flies. And that is when I noticed that my fingertip was gone. So I was like, ‘Oh. O.K.’
“So that is when I started really assessing myself. I was like, ‘That’s not bad.’ And then I turned my hand over, and I noticed that this chunk of my hand was gone. So I was like, ‘O.K., still not bad. I can live with that.’
“And then when I went to wipe the flies on my face with my left hand, there was nothing there. So I was like, ‘Uh, that’s gone.’ And then I looked down and I saw that my legs were gone. And then they had kind of forced my head back down to the ground, hoping that I wouldn’t see.”
HBO’s contribution to an expanded awareness of the awful realities of war continues with a new documentary, “Alive Day Memories: Home From Iraq.”
Mr. Gandolfini, one of the executive producers of the film, steps out of his Tony Soprano persona to quietly, even gently, interview 10 soldiers and marines who barely escaped death in combat.
The interviews are powerful, and often chilling. They offer a portrait of combat and its aftermath that bears no relation to the sanitized, often upbeat version of war — not just in Iraq, but in general — that so often comes from politicians and the news media.
Dawn Halfaker, a 28-year-old former Army captain, is among those featured in the documentary. She lost her right arm and shoulder in Iraq, along with any illusions she might have had about the glory of war.
“I think I was a little bit naïve to what combat was really like,” she told me in an interview on Sunday. “When you’re training, you don’t really imagine that you could be holding a dying boy in your arms. You don’t think about what death is like close up.
“There’s nothing heroic about war. It’s very tragic. It’s very sad. It takes a huge emotional toll.”
Still, she said, there was much about her experience in Iraq that she was grateful for.
“Nobody in the film is asking for pity or sympathy,” she said. “We’re just saying we had this experience and it changed our lives, and we’re coping with it.”
The term “alive day” is being used by G.I.’s to refer to the day that they came frighteningly close to dying from war wounds, but somehow managed to survive. There are legions of them.
Miraculous advances in emergency medicine, communication and transportation are enabling 90 percent of the G.I.’s wounded in Iraq to survive their wounds, although many are facing a lifetime of suffering.
It’s become a cliché to talk about the courage of the soldiers and marines struggling to overcome their horrendous injuries, but it’s a cliché embedded in the truth. Sergeant Anderson, a chatty onetime athlete, is doing his best to put together a reasonably satisfactory life without his legs or his left hand, and with a damaged right hand
He told Mr. Gandolfini, “If I didn’t have my hand, if I lost both my hands, I’d really think, you know, it wouldn’t be worth it to be around.”
He has a wry take on the term “alive day.”
“Everybody makes a big deal about your alive day, especially at Walter Reed,” he said. “And I can see their point, that you’d want to celebrate something like that. But from my point of view, it’s like, ‘O.K., we’re sitting here celebrating the worst day of my life. Great, let’s just remind me of that every year.’ ”
Last year HBO produced a harrowing documentary called “Baghdad E.R.” that showed the relentless effort of doctors, nurses and other medical personnel to save as many lives as possible from what amounted to a nonstop conveyor belt of G.I.’s wounded in combat. At the time, Shelia Nevins, the head of documentary programming at the network, said, “We tried to put a human face on the war.”
They’ve done it again with “Alive Day Memories,” which is scheduled to premiere Sept. 9.
There are no politics in either production. They are neither pro- nor anti-war.
But the intense focus on the humanity of the men and women caught up in the chaos of Iraq, and the incredible sacrifices some of them have had to make, is an implicit argument in favor of a more thoughtful, cautious, less hubristic approach to matters of war and peace.