Back to Bataan (1945)

One of the more horrific events in American military history, the Bataan Death March is hard to comprehend some 60-plus years later. As an event in time, it marks a low point for the U.S. military, but it often hides the rest of the Philippines involvement in WWII. While the fighting continued as the Allies island-hopped across the Pacific, guerrilla fighting raged on in the Philippines, small groups of left behind American soldiers fighting alongside Filipino natives, like 1945’s propaganda-heavy but highly entertaining Back to Bataan.

Commanding a company of Filipino scouts late in the Bataan defense in spring 1942, Colonel Joe Madden (John Wayne) is called back to HQ with special orders. In an effort to ease the pressure on the front line troops, Madden will be sent behind the lines to organize guerrilla units. As he arrives though, the Allies surrender, and the Japanese are now in charge of some 70,000 prisoners. With a small ragtag group of American soldiers, Filipino natives and Filipino scouts, Madden goes to work nipping at the Japanese war effort in the face of impossible odds. With Japanese reprisals instantaneous and brutal, Madden seeks help, one of his men, Capt. Andres Bonifacio (Anthony Quinn), the grandson of a Filipino hero, now a prisoner. Together they fight on, hoping the Allies will return to the Philippines in time.

What is most appealing and interesting about this Edward Dmytryk-directed WWII story is the timing. It was released in theaters in the United States in late May 1945. The war was still very much going on, the bombings of Hiroshima and Nagasaki still two-plus months away. I’ll go into the propaganda angle later, but there’s just something appealing about the story. It is straightforward, honest and even in its force-fed attitude, entertaining. The action is kept to small doses, but when it’s there, it’s loud, chaotic and doesn’t have that whitewashed feel of a 1940s war movie, including several impressive stunts for the Duke. The military-themed score isn’t real subtle, but it works in its obvious ways. Japanese…DUN DUN DUH! Americans….Cue the hero music!

Not one of his best roles, this is nonetheless one of my favorite John Wayne performances. The 38-year old Wayne was just heading into his prime as an actor, and it ends up being an interesting middle  ground. He doesn’t look like a kid anymore, but he doesn’t look like the heavier Duke of the 1960s. As the main star here, Wayne’s Col. Madden ends up being the face of the American involvement in the guerrilla movement. Who better to lead a warring nation against invaders? A similarly very young looking Quinn gets the showier part, the disillusioned Filipino trying to decide if the fighting and cost in lives is worth it. Knowing that both Wayne and Quinn would go on to become huge stars, it’s fun seeing them in early parts as rising stars. Quinn also gets a love interest, Fely Franquelli as Dalisay Delgado, an American agent working undercover for the Japanese (think Tokyo Rose).

And then there is the propaganda. By spring 1945, the Allied forces would win the war in the Pacific, it was just a matter of time. ‘Bataan’ nonetheless lays it on pretty thick in the propaganda department. The Japanese officers (including Richard LooPhilip Ahn, and Leonard Strong) are maniacally evil, sneering, conniving and diabolical whenever possible. Loo’s Major Hasko actually pets a Filipino girl’s hair at one point, seemingly practicing to be a Bond villain. Granted, the Japanese war effort in general was despicable, inhuman and horrifically awful, but ‘Bataan’ makes it cartoonish in its portrayal. There’s also the opposite. A Filipino teacher (Vladimir Sokoloff) is hanged rather than pull down an American flag. Instead of ripping the Japanese, it builds up the glory of America, especially young Filipino fighter, Maximo (Ducky Louie), and his American teacher, Ms. Barnes (Beulah Bondi), arguing. Late, a mortally wounded Maximo wishes he could have learned to spell ‘liberty’ correctly. The weird thing? Even in its cheeseball corniness, it works somehow.

While it isn’t a classic WWII film, ‘Bataan’ is a highly entertaining movie to watch, especially in a double-bill with 1942’s Bataan. The history is interesting, the prologue showing the freeing of Allied prisoners at Cabanatuan Prison Camp (read more HERE), the real-life incident depicted in 2005’s The Great Raid. An excellent story in 2005, but in 1945 it was just four months removed from the actual incident! Timely much? The real-life P.O.W. survivors even make an appearance (watch HERE). How cool is that? Talk about a time capsule. There’s some humor as well, Paul Fix‘s displaced American hobo, Bindle, talking with Alex Havier‘s loyal and capable Filipino scout, Sgt. Bernessa, about the beauty of being a hobo. Also look for Lawrence Tierney as Lt. Waite, an American officer debriefing the guerrillas before the action-packed finale. Just a good, old-fashioned war movie, one that could have gotten bogged down in its propaganda message but manages to rise above it.

Back to Bataan (1945): *** 1/2 /****

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Death Rides a Horse (1967)

The middle film in Sergio Leone’s famous Dollars trilogy, 1965’s For a Few Dollars More, is considered one of the best spaghetti westerns ever made and is also my personal favorite of the genre. Two years later, 1967’s Death Rides a Horse hit theaters, and hhmm, something sure seems familiar. Borrowing liberally from Leone’s earlier western, it uses the same basic storyline with some almost identical scenes. Thankfully it does enough to stand on its own.

At an isolated ranch where $100,000 is being guarded one rainy night, a gang of bandits and killers descend on the ranch, taking the money as they kill the guards and family. All except one that is…a young boy. Some 15 years later, the boy has grown up, and Bill (John Phillip Law), is looking for the men responsible for his family’s murder. A dead-shot with pistol or rifle, Bill is still inexperienced, but he has specific memories that will help him identify the killers without having seen their faces. As he travels though, he meets up with Ryan (Lee Van Cleef), an older gunman fresh out of prison. Their plans seem the same as both men are gunning for the same bandits. Will they work together or as foes?

Sounds like For a Few Dollars More, doesn’t it? The young gunslinger teaming with the older, more experienced gun-hand isn’t unique to just FAFDM, but it is an example of a movie that handles it really well. But in the wave of movies that were released after the Leone westerns, some similar stories popped up, and director Giulio Petroni uses that story as a jumping off point. Similar elements are there — the dynamic between characters, the blood-tinted flashbacks — but this is a movie that stands on its own. There’s a reason it is remembered as one of the best spaghetti westerns around. And wouldn’t you know it? This Lee Van Cleef guy is a big reason why.

By 1967, Van Cleef was a star thanks to the spaghetti western. He’d already starred in FAFDM, The Good, the Bad and the Ugly, and The Big Gundown, and with ‘Death’ adds another classic to his name. His Ryan is a slightly different version of Col. Mortimer, albeit a little more down on his luck. Even when his characters are in the right though, Van Cleef gave them a mean streak right up their back. He’s an anti-hero, but one you’re never sure of his intentions. Cool as gunfire starts, he knows what he wants and plans on getting it. Playing Colonel Mortimer for Leone is probably his most iconic role, but this is one of my favorites of his. Unfortunately John Phillip Law just can’t match Clint Eastwood’s part, but he does a respectable job as the revenge-seeking Bill. It’s hard to tell if it’s his acting or a bad dubbing, but wooden aptly describes the character. There is a chemistry with Van Cleef’s Ryan though and that goes a long way in saving the story.

So who should our revenge-seeking gunmen go after? ‘Death’ fills out a cast will plenty of recognizable faces, all just waiting to be picked off. Law’s Bill as a child saw little things he could remember about the killers; a tattoo, an earring, a scar, and now he’s looking for those clues. The killers include Luigi Pistilli as Walcott, now a respectable banker (saw him clearly), American actor Anthony Dawson as Cavanaugh (chest tattoo of four aces), a saloon owner and town boss, with two bandit brothers, including Jose Torres as Pedro (scar over his left eye) and Angelo Susani as Paco (an earring from his right ear that dangles). Also look for Mario Brega as one of Walcott’s henchmen, an actor continuing his trend of dying horrifically in spaghetti westerns, and Bruno Corazzari as another hapless henchmen. Don’t forget about him in the finale. Where is he hiding?

All the touches of a successful spaghetti western are here from the anti-heroes and the despicable villains to the dusty border towns and extreme close-ups. For a movie that’s 114 minutes though, it is not action-packed. The story builds up the tension as Bill and Ryan hunt down their revenge, but it’s rarely dull. Just don’t think you’re seeing two hours of shootouts and gunfights. The ending though is one of the more memorable finales of the genre; Bill and Ryan in an isolated Mexican mountain village shooting it out with Walcott’s men. A wind storm whips across the mountains, enveloping the town as sand, dirt and wind swirl around. If you were looking for action, this is the best place to find. Also worth mentioning, a twist that probably shouldn’t come as a surprise, but it works nonetheless in terms of the two characters involved. Great finale, great ending.

Now in a spaghetti western, you’d be safe guessing that composer Ennio Morricone did the musical score, and here, you would be 100% correct. It never ceases to amaze me this man’s talents. Some scores had touches of familiarity, but his ‘Death’ score is unlike any other he did and in general, one of his most underrated scores from a long and distinguished career. Listen to the main theme HERE for an idea. Another sample comes late in the movie — dubbed Mystic and Severe — which you can listen to HERE and watch in context HERE. Quentin Tarantino is a huge fan of the score, using both those music cues in his movies Kill Bill Vol. 1 and Inglourious Basterds. A great score though to keep things moving in a great spaghetti western. Van Cleef was rarely better in bad-ass mode, and you’ll be hard-pressed to come up with too many that are better than this movie. You can watch the entire movie HERE at Youtube, but the quality isn’t great.

Death Rides a Horse  (1967): *** 1/2 /****

Rocky Mountain (1950)

rockymountain1950One of the most bankable stars of the 1930s and 1940s, Errol Flynn had seen his star fade a bit by 1950. His partying lifestyle had started to catch up to him, and his films weren’t a sure thing anymore at the box office. That said…he was still the absolute coolest. In 1950, he starred in a western that’s been generally forgotten in the years since. Why is that? I’m drawing a blank. It’s one of my favorites. Here’s 1950’s Rocky Mountain.

It’s March 1865 and the last days of the Confederacy are on the horizon. Riding west for California, Captain Rafe Barlow (Flynn) and a small 7-man patrol have been tasked with a desperate mission, an almost suicidal objective of starting a new front in California. His plan takes a hit though when Barstow’s squad fights off a Shoshone attack and rescues a beautiful young woman, Johanna (Patrice Wymore), from a wrecked stagecoach. On their way to meet the hopeful leader of the uprising, Cole Smith (Howard Petrie), Barstow must now make a decision. Johanna’s fiance is a Union officer and will no doubt come looking for her. Barlow’s squad is stuck in the middle, forced to continue the mission or save Johanna, worrying about Shoshone war parties and Union patrols all around them and closing in.

I stumbled across this western from director William Keighley (and a story by Alan LeMay, who also wrote The Searchers) years ago via Netflix, then rewatching it recently off of Turner Classic Movies. I loved it both times, maybe even more so the second time around. ‘Rocky’ clocks in at just 83 minutes and pretty seamlessly blends the Civil War and western story.

The coolest part here is the filming locations. It’s filmed in black and white. Would it have been an interesting movie to watch in color? Yeah, you bet, 1948’s She Wore a Yellow Ribbon coming to mind. But the rocky, barren desert is aided by the black and white filming, giving a starkness to the setting that color might have canceled out. He films on location in New Mexico, using some familiar locations including some that fans of John Ford’s Fort Apache will notice (more on that later). Also, ‘Rocky’ borrows an instantly recognizable musical score from composer Max Steiner, using his They Died With Their Boots On theme. Give it a listen HERE starting at a :49.

What impressed me here was ‘Rocky’s’ ability to get ahead of the curve with westerns of the time. The late 1940s and early 1950s were an important transition for the genre. It wasn’t so much the white-hat good guys vs. the black-hat bad guys. Most characters had flaws, even inner demons they had to deal with. ‘Rocky’ isn’t quite there….but it’s getting there. The Union and Confederacy teaming up was used several times after (Escape from Fort Bravo, Major Dundee), but this is one of the first I can come up with. It’s the little things here. The men have beards, stubble, and look like they’ve been sweating in the desert heat. At least some effort was made to make it seem authentic. I give points just for the attempt. When that attempt works? Win-win for the viewer.

Starring in his last western, Flynn makes the most of it. He just looks comfortable in the part. His Capt. Barstow is a strong leader, liked and respected by his men, but he also has a moral compass that won’t let him turn his back on what’s right and wrong. The only slow moments here are his not-so-surprising romance with Wymore’s Johanna. She’s engaged to Union cavalry officer, Lt. Rickey (Scott Forbes), but can’t help be drawn to the very attractive Capt. Barstow. Playing the sneaky, sniveling Cole Smith, Petrie is a background player, but his character plays a key role late. Also look for western vet and character actor Chubby Johnson as Craigie, the stagecoach driver with no allegiances to North or South, just himself, bringing some homespun charm to this small but funny part.

What drew me to the movie — right up there with Errol Flynn — was the story that sounded like such an obvious forerunner to movies like Escape from Fort Bravo and Major Dundee. Nowhere was that more evident than Flynn’s small squad of Confederate misfits. Not any huge names here, but western fans will get a kick out of the group. It includes Guinn Williams as Pap, the old man of the group, Dickie Jones as Jimmy, the soft-spoken youngster who fights like mad while also looking out for his dog, Slim Pickens (in his first credited role) as Plank, a plainsman who served time in prison, Robert Henry as Kip, a young man and heir to a plantation back home, Sheb Wooley as Rawlins, the steamboat man with a mean streak, Peter Coe as Pierre, the Frenchman from Louisiana, and Rush Williams as Jonas, the plainsman and dead shot with a rifle. Not a weak link in the bunch, but Jones especially stands out, including one scene he has with Wymore discussing his brief encounter with Robert E. Lee before Gettysburg. Just seven solid supporting parts for Flynn.

It’s the rare western I can’t find something positive to talk about. And about an hour into ‘Rocky’ I was liking it a lot if not loving it. And then there’s the last 25 minutes. Somewhat short on action to this point (not a huge issue), the finale has Barstow and his squad making a dangerous decision separate from the mission. No spoilers here, but my goodness, the ending certainly resonates, catching me off-guard on both viewings. Flynn addresses his men after a chase, stating ‘They’ve seen our backs, let’s show them our fronts.’ It’s a line that could sound cheesy, but with Flynn delivering the line, it works in a big way. The finale was even filmed in the same canyon as the ending to John Ford’s Fort Apache. I loved the honesty of the ending. LOVED it. It takes a pretty good western and makes it a near classic.

Can’t recommend this one enough. Definitely worth tracking down.

 

Rocky Mountain (1950): *** 1/2 /****

Two Mules for Sister Sara (1970)

two_mules_for_sister_sara_posterFollowing his breakout success in Sergio Leone’s iconic spaghetti western trilogy – the ‘Dollars’ trilogy – Clint Eastwood returned to the states a marketable star. He wanted to distance himself some from the western genre, but still made a couple entries over the coming years. The best? A spaghetti-ish western with director Don Siegel, 1970’s Two Mules for Sister Sara.

It’s the years following the Civil War, and an American mercenary, Hogan (Eastwood), is working with the Juaristas as Mexican forces fight the French government. On the trail, he rescues a woman who is about to be raped by 3 drifters, killing her 3 attackers. Hogan is in for a surprise. The woman is a nun, Sister Sara (Shirley MacLaine), similarly riding south who is also working with the Juaristas. Knowing Sister Sara is seriously at risk traveling on her own, Hogan says she can travel with him as they ride through French patrols, bandits and Indian attacks.

Nothing too crazy here, just a good western story that leans heavily on its star, MacLaine and Eastwood, to do the heavy lifting. It’s an episodic story – clocking in under 2 hours – without any huge momentum. The focus is on the star duo who are working off a Budd Boetticher story (Boetticher apparently hated the MacLaine casting and the final product as a whole). It was originally intended for Deborah Kerr and Robert Mitchum (like Heaven Knows, Mr. Allison) but was reworked and re-cast over the years for this duo instead. Apparently filming was troubled to say the least with some big personalities, but it doesn’t show in the end.

If they didn’t get along off-screen, MacLaine and Eastwood must have been saving their chemistry for filming. Eastwood’s Hogan is a spin on his familiar anti-hero gunfighter. He’s chomping cigars, gunning down bandits and just for good measure, he’s an explosives specialist (favoring dynamite). Thrust into a protector role, Eastwood is a quite scene-stealer to MacLaine’s religious antics. Her Sister Sara often repeats “God will provide…” all the while ignoring the constant dangers that could arise on the trail. They form a heck of a duo in the process.

No other huge supporting parts here to round out the cast. Manolo Fabregas is the most visible as Beltran, the leader of the Mexican revolutionary forces who are working with Hogan to take out a heavily-guarded French garrison. Western fans will recognize a couple faces here and there, but the focus is on MacLaine and Eastwood and their revolutionary adventures.

A lot to like here, especially filming on-location in Mexico. You feel like you’re there in 1860s Mexico on the dusty trails, the adobe-lined streets, the rock-capped mountains, and the ancient ruins. Throw in a memorable score from spaghetti western score extraordinaire Ennio Morricone – listen HERE – and you’ve got some excellent building blocks. It all fits together nicely. I defy you not to whistle the main Sister Sara theme for days after watching this western. Not much in the way of action here, but there are some pretty cool set pieces sprinkled throughout the film. Hogan taking out Sara’s attackers, a subtle but well-done chase with Sara, Hogan and French cavalry, and a later sabotage mission on a train trestle are all nicely handled. The final attack on the French garrison is nicely done and features some surprisingly gory action. And that twist in the last 25 minutes…it’s a gem but no spoilers here.

It was an interesting time in Mexican history as French invaders took over the country and the government. It’s provided some ripe pickings for westerns, including Vera Cruz, Major Dundee, The Undefeated and some others I’m no doubt forgetting. As for ‘Sister Sara,’ it’s well worth a watch.

Two Mules for Sister Sara (1970): ***/****

The Mountain Road (1960)

mountain_road_posterWhen it comes to war movies, the 1960s were a decade often dedicated to huge, big-budget, blockbuster flicks with all-star casts. It was only later in the decade that anti-war films gained popularity as the United States’ involvement in Vietnam increased with each passing year. So an anti-war film from 1960? It would seem to be a little bit ahead of its time, no? Here’s 1960’s The Mountain Road.

It’s 1944 in China and a U.S. Army engineer, Major Baldwin (James Stewart), has been given a command after a year in country. With Chinese and Allied forces in retreat and the Japanese army in close pursuit, Baldwin and a small squad of engineers have been tasked with slowing up that advance. With several trucks full of explosives, Baldwin and his squad destroy bridges and the road itself, as well as blowing up ammunition dumps and other keep locations, anything that the Japanese can use against them. Along for the ride is the widowed wife (Lisa Lu) of a Chinese officer who must stay ahead of the Japanese advance. With no law and order and chaos reigning supreme, can Baldwin and his men accomplish the mission and still meet up with Allied forces?

From director Daniel Mann and based off  a novel from a WWII veteran, ‘Mountain’ is an almost entirely forgotten WWII movie that doesn’t get the due it deserves. It’s a gem. Above all else, it is ahead of its time, asking questions that most war movies wouldn’t go anywhere near for years. What’s the cost? Is a mission worth it? Who is the real enemy? Shouldn’t a human life be worth more than just a number or an objective? Filmed in black and white, ‘Mountain’ was shot on-location with Arizona replacing 1944 China. It’s a bleak, isolated movie. You feel alone with Baldwin’s squad and the seemingly endless line of refugees on the road. Musical score is not memorable, the focus instead on the characters and story.

A World War II veteran himself, Stewart made the decision to not make any war films, mostly because they simply weren’t realistic enough. This script obviously pulled him in. A touch old for the part — there’s several mentions of “young” Maj. Baldwin even though Stewart was 52 at the time — he still makes the part his own. He’s an engineer, not an experienced commander. He’s not a fighter or a killer. His adjustments he must make to accomplish the mission and comparing the value of the mission to the lives of his men, it’s all thrown at Stewart’s Maj. Baldwin. The love subplot with Wu’s Sue-Mei falls short, but Stewart and Wu’s conversations about China and war provide some memorable, intelligent moments.

Not a big cast, but the supporting ensemble is excellent. Glenn Corbett is a quiet scene-stealer as Collins, the young soldier who has fallen hard for China and its culture. Likable and smart, he clicks with Baldwin immediately. Harry Morgan is excellent too as Sgt. Mike, the veteran who’s experienced everything a soldier can, working as a bit of a sounding board for Baldwin through the mission. The rest of the squad includes Mike Kellin, James Best, Frank Maxwell, Rudy Bond and Eddie Firestone and Frank Silvera as a Chinese officer accompanying Wu’s Sue-Mei. Stewart, Corbett and Best would reunite 5 years later in Shenandoah, although they didn’t share any screen-time together.

Things take a dark turn near the hour mark with a surprise death. It’s in that moment that ‘Mountain’ truly embraces its anti-war statuts. Baldwin begins to question everything his mission entails. Are the Japanese his enemy or are his supposed Chinese allies the true enemy? Also check out 1959’s Never So Few for a similar story concerning Chinese involvement during WWII. There’s some good action — small-scale firefights — and some genuine twists, and to Mann’s credit, no easy endings.

Well worth seeking out. Turner Classic Movies has aired it in the past if curious. Keep an eye on their schedule.

The Mountain Road (1960): ***/****

The Bridge at Remagen (1969)

Bridge at RemagenIt seems so obvious when you think about it, but a majority of war films are told from one side or another. Sure, there are exceptions, like The Young Lions, The Longest Day, A Bridge too Far — but there certainly aren’t many. One of the best is a film that’s rarely mentioned as a classic war film, a favorite of mine too, 1969’s The Bridge at Remagen.

It’s March 1945 and German armies are in full retreat back into Germany, Allied forces nipping at their heels. The German High Command has ordered all bridges over the Rhine river blown up in hopes of slowing down the Allied advance, but one bridge at the town of Remagen remains. A German general (Peter van Eyck) sees that 75,000 German troops will be cut off if the bridge is destroyed, and instead sends a close friend and fellow officer, Major Paul Krueger (Robert Vaughn), to hold the bridge as long as possible. Just miles from the bridge, an armored American infantry unit commanded by Lt. Hartman (George Segal) is leading the charge to Remagen, hoping to catch the Germans napping. After weeks at the point, Hartman’s men are exhausted, but pressure from HQ keeps the men going, hoping to end the war as quickly as possible. All roads lead to Remagen for both sides.

One Memorial Day I don’t know how many years back, I stumbled across this WWII movie on Turner Classic Movies. I’d never seen it, much less heard of it. It’s based on a real WWII battle — read more HERE — but because of a general lack of star power doesn’t get the attention/credit it deserves. From director John Guillermin, ‘Remagen’ is a product of the times as America was fully involved in Vietnam in ’69, a dark story about the closing days of the war in Europe. It doesn’t often get the attention of its many 1960’s MGM brethren, but it should.

 

Where this reflects the times is the portrayal of a war near its end, the soldiers deteriorating with pure exhaustion.  The end of the war is close, and the Germans are turning on each other.  Vaughn’s Krueger is promised a defense that doesn’t exist and reinforcements that can’t be moved.  The SS and Gestapo run rampant, ruling with an iron fist.  The ranks are thinned by deserters, and refilled with old men and young boys.  The Americans are always on the move, pushing themselves and the Germans to their absolute limits.  They’re bone tired but they have no option but to follow orders.  The rules of war are gone to a certain point, and survival has taken priority over everything else.  It is a cynical story at times, the effects of war wearing men down on both sides.  Frightening at times to see the portrayal of the closing days of the war presented in a realistic fashion.

The portrayal of the opposing forces is seen through the eyes of two junior officers, both with different missions but driven to the same point.  Segal is perfect as Lt. Phil Hartman (no relation to the SNL star), a company commander at his wit’s ends when it comes to commanding.  He’s trying to protect his men as best as possible, but HQ has their objectives.  Guest star E.G. Marshall as an American general callously states “100 may die, but 10,000 will be saved.” An honest statement in the big picture, but when you’re part of the 100, does it matter?  Across the river is Vaughn’s Krueger, a career German officer — not a Nazi — disobeying orders but still trying to save as many men as possible.  The two actors don’t share any scenes together, but there is a bond between them nonetheless.  They may be on opposite sides of the war, wearing different uniforms, but in many ways they’re the same.

In the honest portrayal of a war in its closing days, both sides aren’t shown as particularly heroic.  Ben Gazzara is a scene-stealer as Sgt. Angelo, one of Hartman’s men who is a good soldier under fire but rubs the Lt. the wrong way by picking clean the bodies of dead German soldiers.  Gazzara is so good in the part that you forget at times how despicable his actions are. Forced to kill a Hitler Youth teenager, he almost snaps when confronted.  All of the Americans aren’t shown in a positive light, including Hartman’s unit which includes Bo Hopkins, Matt ClarkRobert LoganSteve Sandor, and Tom Heaton. Bradford Dillman‘s Barnes is a good officer but he has no idea how to interact or treat his men. The Germans too are at each other’s throats.  Look for Hans Christian Blech in a solid supporting part as one of Krueger’s officers.

Bouncing back and forth between the American and German perspective could have caused a disjointed story, but that’s never really a problem.  Instead, it drives the pace at a lightning speed as the Germans fall back, the Americans pushing forward.  The action scenes are well-handled and nicely choreographed starting with the filming locations in Czechoslovakia where a bridge similar in appearance to the actual Remagen bridge was used.  There is an epic scale to the battles with the end result possibly being an earlier end to the war, but on a personal level we see Hartman’s men ordered across a bridge fully expecting it to blow at any moment.  Full of tension from the beginning, the battle sequences are aided by Guillermin’s camerawork, right there on the ground with the foot soldiers. You always have a sense of where the battle is, where all the men are stationed.

A highly underrated WWII story. Elmer Bernstein‘s score (listen HERE) borrows from some of his more notable musical scores, and at times sounds more like a western theme, but for the most part it’s good. An all-around solid look at the closing days of WWII and one of its key engagements. Highly underrated, well worth a watch.

The Bridge at Remagen (1969): ****/****

 

Kelly’s Heroes (1970)

Kelly's Heroes

Growing up, I always associated Memorial Day Weekend with the war movie marathons on TV that dotted TNT, AMC and Turner Classic Movies. I ate them up — still do — as I watched as many as I could. They’re still some of my favorite movies, everything from The Dirty Dozen to The Devil’s Brigade and one of my favorites, 1970’s Kelly’s Heroes.

It’s fall 1944 and Allied forces are fighting their way across France, the German army slowly being beaten back. At the forefront of the Allied advance, a recon platoon, including Sgt. Big Joe (Telly Savalas), are worn down after months of fighting. One member of the platoon, Pvt. Kelly (Clint Eastwood), stumbles across an interesting tidbit of information while interrogating a German colonel. There is 14,000 bars of gold — worth $16 million — in a bank just waiting to be plucked. The catch? The bank is 30 miles behind German lines. Joe manages to convince both Big Joe and the platoon to navigate through the lines and get their hands on the gold. With a scrounger/supply sergeant, Crapgame (Don Rickles) and three Sherman tanks commanded by a hippie, Oddball (Donald Sutherland), along for the ride, Kelly and his motley crew of soldiers head out with a chance to net quite the payday.

What an appropriately timed World War II movie. By the late 1960s, the tone of war movies had changed from the big epics to the more cynical/comedic variety, movies like MASH and Catch 22 among others. Enter Kelly’s Heroes, directed by Brian G. Hutton (who also directed Where Eagles Dare), one of the most entertaining war movies I’ve ever seen. Cynical with a dark sense of humor but also some lighter moments — courtesy of Sutherland’s hippie tank commander — with some great action, memorable score, and one of those perfect tough guy casts. There’s a reason it remains a fan favorite 40-plus years later, and much of it because it blends all those things together so effortlessly. Even an odd-sounding theme, Burning Bridges, fits perfectly in an odd way. It is one of my favorite movies and always will be, a classic war flick that I can sit down and watch whenever it pops up on TV.

Can you ask for a better lead quartet than Clint Eastwood, Telly Savalas, Don Rickles and Donald Sutherland? Yeah, there has been casts with bigger star power, bigger name recognition, but it’s more than that here. This is four tough guys having fun, on-screen chemistry that’s just hard to describe. They all get their chance in the spotlight. Eastwood is Eastwood, the impeccably cool and man of few words hero. Savalas is a subtle scene-stealer as Big Joe, the unofficial commander of the recon platoon (Hal Buckley playing the clueless real commander Capt. Maitland), just trying to get his men through the fighting unscathed and a somewhat unwilling participant in the gold heist. Rickles is an out of left field choice to join the cast, but it works, his Crapgame a smart-ass New Yorker always with an eye for a profit. And then there’s Sutherland as Oddball, the tank commander always talking about positive waves (No Negative Waves, man!), his Zen-like qualities, heading into battle with music blaring and shells filled with paint waiting to be unleashed on the Germans.

As a fan of guy’s guys movies, it’s simply hard to beat those four stars. They make it look downright easy. Much of that chemistry and success comes from the script written by Troy Kennedy-Martin, a script with too many great one-liners to even mention. We see familiar character archetypes, familiar war movie situations — stumbling into a minefield, prepping for battle — but there’s a different energy to the whole thing. It’s that tone that blends the drama, comedy and action so easily that makes it work. Carroll O’Connor too is excellent in a part that lets him ham it up as General Colt, the fiery division commander who’s frustrated with the stagnant front lines, getting a jolt of energy when Kelly’s screwball force unintentionally opens things up all along the front. There’s something to be said for a movie that is non-stop fun.

When the platoon looks back on a field where some of their fallen comrades lay dead in the dirt, there’s no words that need to be said. The looks on the surviving men’s faces says it all. Telling the men to keep moving, Big Joe turns and raises his binoculars to check one last time, that maybe, just maybe, his men are still alive. The dynamic is there from the lead quartet right down to the platoon, a group of recognizable character actors clearly having some fun. The platoon includes Little Joe (Stuart Margolin), Big Joe’s radioman, Cowboy (Jeff Morris) and Willard (Harry Dean Stanton), two drawling best buds, Gutowski (Dick Davalos), the sniper, Petuko (Perry Lopez), the smooth, goofy ladies man, Cpl. Job (Tom Troupe), Joe’s second-in-command close friend, Fisher (Dick Balduzzi), the platoon genius, and Babra not Barbara (Gene Collins). Also, you can’t forget Gavin MacLeod as Moriarty, Oddball’s mechanical genius and constant provider of negative waves.

Also look for Seinfeld’s Uncle Leo, Len Lesser, as Bellamy, an engineer Oddball ropes into helping the cause and Karl-Otto Alberty as a German tank commander who goes up against Kelly’s forces and Oddball’s tank trio.

With a 146-minute running time, we’ve got plenty of chances for guys being guys and plenty of action scenes. We get lots of action — escaping a minefield, a tank attack on a railway station, the platoon racing through a German crossroad under mortar attack — but the best is saved for last as the platoon descends on Clermont, the town where the bank and the gold are waiting. It’s an extended sequence that runs about 35 minutes that doesn’t rush into it. We get almost 10 minutes of the men and the tanks sneaking into town while the German garrison slowly wakes up, composer Lalo Schifrin‘s score driving the action. The entire movie was filmed in Czechoslovakia, the action finale filmed in the village of Vizinada. It’s an extended sequence that is hard to beat.

Just a great movie overall. Great cast, incredibly quotable, lots of action, memorable soundtrack (especially Tiger Tank), and even a nod to Eastwood’s spaghetti western background with a three-way showdown with said tank. One of my all-time favorites and hopefully you’ll enjoy it just as much as I do.

Kelly’s Heroes (1970): ****/****