Good Morning, Vietnam - Levinson's 'Hidden' Gem? Auteur Focus

Okay, so I know most of you aren't on the director deep-dive train like I am, but hear me out about "Good Morning, Vietnam." I've been plowing through Barry Levinson's work lately (started with Diner, naturally) and this one feels...different compared to his others. Robin Williams is obviously the heart and soul, and he's fantastic— the improv bits are legendary, particularly that early scene where he's just riffing names and sounds. But I wonder...how much of that improv was Levinson shaping, and how much was just letting Robin be Robin? Seems like a director's work would be harder to spot when the lead actor's persona is so, so dominant. Maybe I'm reaching here, but I think Levinson smartly used Williams' chaotic energy to make a point. The structure of the film isn't necessarily tight – it's almost episodic. Think that reflects the sense of disorientation and absurdity soldiers would feel over there? Levinson juxtaposes Williams' radio segments, which are purely comedic and aimed at boosting morale, with the grittier realities of war shown through Tuan's experiences and the bombing scene. It's a jarring contrast, but I think that contrast is the point. The comedy is a coping mechanism, but it also highlights the disconnect between the homefront's perception and the actual war. Like, even the way the plot advances feels a bit un-Levinson, maybe? The romance with Trinh feels kind of shoehorned in and ultimately doesn't really go anywhere substantial. Was that Levinson pushing back against studio demands for a love story, or was it meant to reflect the fleeting and often doomed nature of relationships formed during wartime? I dunno, still processing that and need to re-watch the ending again. Some of the supporting performances felt a bit stereotypical too and I'm still digesting how to process those. Anyway, I know it's probably just me overthinking, but "Good Morning, Vietnam" feels less like a classic Levinson film and more of a carefully assembled showcase for Williams' genius, which then allowed Levinson to make a more subtle, yet effective, anti-war statement. What do you guys think? Is my director-brain broken or am I onto something?