The Rawhide Years (1956)

The Rawhide YearsFrom 1949 on, Tony Curtis was acting regularly in films, starting off with supporting roles but quickly climbing into key and leading parts. It was in the late 1950s he truly hit his stride. Lost amidst that stretch? A fun, little western from 1956 generally forgotten by fans, The Rawhide Years.

Working with another gambler on a riverboat, a young con man/gambler, Ben Matthews (Curtis), takes down one confident gambler after another, robbing them of their purse on the way to the town of Galena. One night, a powerful rancher is murdered on-board and all signs and clues point to Matthews as the murderer. On the run, Matthews has to head east to avoid a lynching party, leaving his fiance, dance hall singer/dancer, Zoe (Colleen Miller), behind with the promise of coming back for her when the smoke clears. Three years pass before Matthews can return. With the help of an outlaw, Harper (Arthur Kennedy), Matthews heads back to Galena to get back his girl and clear his name.

An interesting, goofy western, one I’d never heard of before stumbling across it on Encore Westerns recently. From director Rudolph Mate, ‘Years’ is fairly different from most 50s westerns, avoiding heavy adult drama and overdone twists and turns. It has the feel of a buddy western at times — with Curtis and Kennedy — with some touches left and right of a murder-mystery. It clocks in at a quick 85 minutes and never truly slows down. There are some really dumb plot twists and transitions, but we’re not talking The Searchers here. Not quite a B-western — there’s some budget — but in the neighborhood at least.

With so much going on, the thing that keeps ‘Years’ grounded is the casting of Tony Curtis and Ben Matthews as two very different but still like-minded fellas on the run. Curtis established again and again that he was an excellent dramatic actor, but when he took on lighter roles, his charming, incredibly likable side came to the forefront. Kennedy could steal a western with a snap with a villainous turn, so the fun here is figuring out exactly which side he’s on. Throw those two characters together, and you have a lot of fun. Never quite trusting each other fully, they still have each other’s back through some twisting and turning involving a gang of river thieves. Two very fun parts.

The romantic lead in a handful of 1950s westerns, Miller faded away from the limelight pretty quickly. She isn’t given much to do here other than sing (she gets three songs) and look pretty in dance hall girl outfits. William Demarest plays the well-respected brother of the murdered rancher, William Gargan plays the tough town marshal, Peter van Eyck plays the double-dealing saloon owner and Minor Watson is the rancher Matthews meets on-board the riverboat. Western fans will appreciate Robert J Wilke in a supporting part as a sneering, gun-toting villain.

Not gonna over-analyze or go into too much detail here. Nothing ground-breaking, but it’s a fun western with some cool leads. Worth checking out if you stumble across it.

The Rawhide Years (1956): ** 1/2 /****

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Never So Few (1959)

Never So FewWith his role on TV’s Wanted: Dead or Alive playing bounty hunter Josh Randall, Steve McQueen introduced himself to American audiences in a big way. And though he had starred in several feature films — The Great St. Louis Bank Robbery, the cult classic The Blob — he got his first true big break in a major studio release with 1959’s Never So Few. It’s a good — if flawed — flick, but the star power is evident, even in a supporting role with an all-star cast.

It’s 1943 in Burma with Captain Tom Reynolds (Frank Sinatra) and Capt. Danny DeMortimer (Richard Johnson) command a small group of OSS operatives leading a unit of Kachin resistance fighters. Less than 1,000 men are holding back some 40,000 Japanese troops, Reynolds, DeMortimer and the native Kachins leading raids all over the country. They’re outnumbered, undersupplied and constantly fighting an uphill battle. The duo earns a leave, both officers enjoying a break. First up on their list? Find a doctor for the wounded men and then go to HQ to demand the support the guerilla fighters so desperately need. In the meantime, Reynolds finds some time for romance, seeing a beautiful Italian girl, Carla (Gina Lollobrigida), currently with an arms dealer.

I love WWII movies, love Sinatra and love McQueen, so when I stumbled across this 1959 war drama from director John Sturges years ago, my first thought was simple. How the hell had I missed this flick for so long?!? The answer is pretty simple. It’s a mixed bag of a final product. ‘Few’ is an above-average war flick when…it focuses on the war! Go figure, right? Far too much time — at least half of the 124-minute running time — is spent on a chemistry-less “romance” and “love triangle” among Sinatra, Lollobrigida and an underused Paul Henreid as the arms dealer. It goes absolutely nowhere and is almost uncomfortable to watch. Sinatra gives the old college try, but it’s a romantic subplot that’s DOA.

The unfortunate part is that the war story aspect of ‘Few’ is pretty dang good. It’s based on a true story concerning the fighting in Burma before the Allies retook the country in late 1943 and into 1944. It’s not a romantic portrayal of war. We see blood in the firefights. The action isn’t graphic but can be startling. Reynolds has to mercy kill one of his men, a gutshot soldier with no relief in sight. It’s an at-times bleak, downright cynical portrayal of guerrilla fighting. The most interesting angle taken? A third act issue with American forces battling both Japanese infantry and Chinese troops supposedly on the Allied side. It gets some interesting points for going down a road (and story) not often addressed, especially as early as 1959.

So here’s a shocker; the director of classics The Great Escape and The Magnificent Seven (among several other very good to near-classic films), Sturges is able to helm a damn exciting WWII adventure with an impressive all-star cast of some badass dudes. Sinatra always played variations on his own charming, confident persona, and that’s no different here. His Reynolds is a capable, tough as nails officer who knows the task he’s been given is near impossible. Johnson is a scene-stealer as DeMortimer, Reynolds’ second-in-command, a very British officer (who favors a monocle) but is coolly efficient under fire. They have an excellent Batman-Robin, Butch-and-Sundance vibe, that of two men who have been to hell and back in combat.

And then there’s that McQueen guy. What a presence on display, McQueen stealing scenes left and right with his physical presence and his quick-firing line delivery. You see the little touches McQueen would become famous for, stealing a scene with a quick movement, a twitch here and there. As for Reynolds’ team, also look for Peter Lawford as Travis, the surgeon, Dean Jones as Norby, the radioman, Charles Bronson as Danforth, the Navajo code-talker and Philip Ahn as Nautang, the ranking Kachin. There is a camaraderie and a bond among these men that carries the war scenes through the much slower romantic portions of the story.

In other smaller supporting parts, look for Brian Donlevy, Robert Bray, John Hoyt and Whit Bissell. Also keep out for George Takei, Mako and James Hong in quick parts.

Filmed on location in Thailand, Burma, India and Sri Lanka, ‘Few’ has a great authentic look with a great backdrop to the story. Composer Hugo Friedhofer turns in an excellent score as well, give it a listen HERE. As for the action, what’s there is choice. Three separate battles are well-handled, loud and chaotic and crazy, the highlight being an attack on a heavily-guarded Japanese airfield in the dead of night. It’s a flawed film overall — a bit of a two-face — but what’s good overpowers the bad, weaker parts. Know those flaws going in, and you should enjoy it.

Never So Few (1959): ***/****

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 /****

Attack (1956)

Attack 1956As long as there have been wars, there have been anti-war films. When I think of waves of anti-war films though, I start to think of the late 1960’s, especially in the U.S. as Americans grew disillusioned with the Vietnam War. But how about an early anti-war effort from the 1950’s that was ahead of its time in so many ways? Here’s 1956’s Attack.

It’s 1944 and Allied forces are advancing all over Europe on German forces. One infantry unit is dealing with a command issue though, especially as the fighting intensifies. Lt. Joe Costa (Jack Palance) is a platoon commander in an infantry company commanded by the cowardly Captain Cooney (Eddie Albert). In a recent engagement, Cooney’s outright cowardice and indecision cost the lives of an entire squad when he refused to commit a reserve to the fighting. As Costa tries to decide what to do, the Germans attack all along the front (the battle of the Bulge), pushing the American forces back. Can Costa hold his men together, or will Cooney’s inability to command cost the lives of even more men?

From director Robert Aldrich, this 1956 World War II movie is an oft-forgotten gem. Based off a Norman Brooks play, it never gets the credit it deserves for the truly dark, honest look it takes at war. These are normal, everyday soldiers trying to get through the war unscathed. These aren’t super-men single-handedly winning the war. Their commander’s general ineptitude at everything he does has some of the men, especially Costa, considering shooting Cooney because no one in the command system will do anything. The commanders are either inept or self-serving while the enlisted men simply want to survive the war.

In a career that featured one memorable tough guy performance after another, Palance delivers one of his best here. His Lt. Joe Costa is as tough as hell and an ideal platoon commander, but he’s human too. After years of fighting, all the death is starting to wear on him, especially when there was potential to stop those deaths. His Costa becomes obsessed with stopping Cooney, no matter how and no matter the consequences. Eddie Albert is frighteningly good as the inept Cooney, a company commander with some serious emotional issues, from alcoholism to daddy issues to fear of failure to…well, just about anything you can think of. Two amazingly different but incredibly memorable parts.

Aldrich had a knack for assembling some damn good casts, and though ‘Attack’ doesn’t have a ton of star power, it’s a damn good cast. In one of his first major roles, Lee Marvin is a scene-stealer as Lt. Colonel Clyde Barrett, the battalion commander using Cooney for his pull back home politically. William Smithers is excellent as Lt. Woodruff, Cooney’s executive officer caught in between his commander and the men in the company. The men in Costa’s platoon include Richard Jaeckel, Robert Strauss, John Shepodd, Jim Goodwin and a scene-stealing Buddy Ebsen as Sgt. Tolliver. Also look quick in the opening scene for Strother Martin as an infantry soldier and Peter van Eyck as an SS officer.

Considering the film’s rather dark subject matter and the timing in the Happy Days-esque 1950’s, it’s not surprising that the US Army wanted nothing to do with Aldrich’s film and offered no support. The result? A lower budget, gritty war film shot on the backlots in a Hollywood studio. It works nicely, ‘Attack’ reflecting its stage-based roots with some long dialogue scenes broken up by some surprisingly realistic, chaotic combat scenes. It’s hard not to look at the bombed-out French town and see the similarities with the finale to Saving Private Ryan.

A lot to be said here, ‘Attack’ getting progressively darker and darker with each passing scene. Aldrich leans on his film noir roots for some great uses of darkness and shadow as tensions rise. Even on repeated viewings, I’m surprised where the story ends up going in the final third of a 107-minute movie. It’s never gotten the credit it deserves, but it’s an anti-war classic. A must-watch.

Attack (1956): *** 1/2 /****

Bend of the River (1952)

bend_of_the_river_-_1952-_posterWhen you think of all the great western directors that worked at the height of the genre’s success — the 1950s through the 1960s — plenty of names comes up, directors like John Ford, Sergio Leone, Sam Peckinpah, Howard Hawks, Budd Boetticher to name just a few.  And then there’s Anthony Mann, who rarely gets the credit he deserves for an impressive filmography. He’s often known for his films with star James Stewart, (8 pairings, 5 of them westerns)like 1952’s Bend of the River.

It’s 1866 and a wagon train is heading west to Oregon. Scouting for the wagon train is Glyn McClintock (Stewart), a former border raider who’s looking to go clean and put his checkered past behind him. The families traveling aren’t aware of Glyn’s past though. To them, he’s just a more than capable scout and gunman. Along the trail, Glyn rescues Emerson Cole (Arthur Kennedy) from a lynching, Glyn not sure if he saved a guilty or an innocent man. Cole decides to tag along, help Glyn and the wagon train make it to Oregon. More and more challenges await though, from Indians and bandits to problems from within. Can Cole go straight? Can Glyn escape his past?

Like any of the western director/star pairings listed above, the Mann-Stewart westerns have a rhythm, a formula they stick with through thick and thin. I’ll get into that formula more in-depth later, but the gist of it is simple. Released in the 1950s, these movies still have that traditional western feel of the 1940s/1930s while starting to tackle more adult/realistic issues that became prevalent throughout the 1950s. Throw in some beautiful filming locations, solid score and deep casts, and you’ve got a winning formula.

A staple of the Mann westerns was Stewart’s flawed, often tragic anti-heroes. His Glyn McClintock certainly qualifies. Stewart played tortured like few others. These aren’t super-heroic gunslingers who can do no wrong. He’s genuinely trying to go straight, to prove he’s a good man. Oh, and he may have to prove that with the lovely Laura (Julie Adams), the daughter of one of the farmers (Jay C. Flippen) on the wagon train. So if Glyn is trying to go straight, what about Cole? Kennedy is a scene-stealer as the ruthless gunfighter who you’re not always sure of his intentions….but you really are. There is little doubt where this is going, but in the meantime, Stewart and Kennedy are excellent in starring roles.

Another frequent Mann collaborator and a rising star in his own right, Rock Hudson has a fun supporting part as Trey Wilson, a young gambler who finds himself working on the trail with Glyn and Cole. In the wasted villain department, Howard Petrie plays Hendricks, the owner of an Oregon town with his hand in everything that will make him some money. Chubby Johnson and Stepin Fetchit are misused in a politically incorrect subplot about a river boat captain and his assistant. Also look for Harry Morgan, Jack Lambert and Royal Dano as troublesome drifters, and Francis Bavier (later Aunt Bea on The Andy Griffith Show) in a small part.

‘Bend’ was filmed on-location in Oregon — including Sandy River, Mount Hood and Timberline — and looks stunningly beautiful. The mountainous backgrounds are provide quite the different look for the story as Glyn, Cole and the wagon train navigate through all the snow-capped mountains. It isn’t the quickest moving story, but it’s never slow. Some good action along the way, and a more than capable cast to lead the way. Not the best Mann-Stewart pairing, but an above average western that’s definitely worth a watch.

Bend of the River (1952): ***/****

Mister Roberts (1955)

mister_roberts_281955_movie_poster29By 1955, Henry Fonda had been away from major film roles for going on 8 years. After serving in the U.S. Navy during World War II, Fonda worked in film for several years before returning to the stage, specifically in a role he would play for 8 years. Naturally, when the film rights were purchased, Fonda wasn’t originally considered. Makes sense, right? Thankfully, the powers that be made the right decision, ultimately casting Fonda in the titular role in 1955’s Mister Roberts.

It’s spring 1945 and Allied forces are pushing Japanese forces back across the Pacific with victory seemingly in reach. Thousands of miles back across the Pacific on a securely head island, Lt. Doug Roberts (Fonda) is the cargo officer on a cargo ship that helps supplies the nearby island and passing ships heading toward the fighting. After 2-plus years on the ship, Roberts feels he’s not doing enough to help the war effort, and he would like nothing more than to serve on a destroyer in the fighting. The ship’s commander, Capt. Morton (James Cagney), knows his value to the ship and its efforts though, so he won’t approve Roberts’ transfer. In the meantime, Roberts continues to keep working hard, all the while working as a buffer, a go-between between the much-maligned crew and the crazy captain.

A huge hit for many years on Broadway with Fonda in the starring role, ‘Roberts’ made the inevitable jump to the big screen with classic results. Impressive considering the production was less than smooth, director John Ford clashing with Fonda and Cagney to epic proportions (Fonda supposedly punched him square in the face) to the point Ford eventually left the production. Mervyn Leroy took over with Broadway director Joshua Logan also helping with reshoots. It’s debatable which director shot what footage — some Ford footage with some broad humor seems to stand out — and at times, the first 45 minutes are a little slow, but the end result is a highly memorable flick that deserves its classic status (or at least its mostly classic status).

You take for granted sometimes how good an actor can be. Henry Fonda was never a flashy actor, always stealing scenes in subtle, underdone fashion. Then, you finish the movie and realize how good he was. His part as Lt. Roberts belongs with his best roles, 12 Angry Men, The Grapes of Wrath, Once Upon a Time in the West, and who knows? It might be his best. Fonda specialized in a long distinguished career at playing the everyman, Joe Normal who’s thrust into an unpleasant situation. As Roberts, it’s dramatic, there is some comedy, and a genuine humanness that plays incredibly sympathetic on the screen. He wasn’t nominated for the Oscar, but he should have been.

Fonda not surprisingly steals the movie, impressive considering the cast around him. Cagney hams it up in a big way (even for him), overdoing it as the narcissistic, egomaniacal Capt. Morton. You need a bad guy though to counter Fonda’s Roberts, and you get it with Cagney. William Powell is perfectly cast as Doc, the ship surgeon who’s good friends with Roberts. Their dialogue-heavy scenes together are a gem, just 2 guys talking, not 2 guys acting. Jack Lemmon won an Oscar for his supporting role as Ensign Pulver, the young officer with some issues who clearly looks up to Roberts and is trying to impress him while dealing with his own shy, nervous, lazy demons.

Because that quartet clearly isn’t enough, the crew of the USS Reluctant (the cargo ship) features Ward Bond as the ship chief, Dowdy, with Ken Curtis, Philip Carey, Nick Adams, Perry Lopez, Robert Roark, Harry Carey Jr. and Patrick Wayne rounding out the cast. Also look for small parts for Martin Milner, Gregory Walcott and Ford favorite Jack Pennick.

The 1950’s were an especially popular time for navy stories, especially World War II navy stories set in the Pacific. ‘Roberts’ would even inspire a sequel, 1964’s Ensign Pulver (not good). This is one of the prettiest, sunniest, most beautifully shot movies of the decade. I can’t recall a single scene that isn’t sun-drenched with cool blue waters in the background. The US Navy aided during filming, and it shows with an authentic military look and feel to the proceedings. Composer Franz Waxman turns in a solid score too, appropriately balancing the comedic and dramatic moments. Give it a listen HERE.

In my latest viewing, I struggled early on in a 121-minute movie. It’s slow — really slow — setting things up. Thankfully, when things up, they do in lightning-quick fashion. After a slow first 45 minutes, ‘Roberts’ hits its groove. It builds and builds, right up into a highly memorable final stretch. This is a movie that’s ready to punch you right in the stomach with a tragic final 15 minutes. It helps save the early portions and ends the movie on a great final scene. Excellent flick — flaws aside — with Fonda in one of his best performances in a long list of best performances.

Mister Roberts (1955): *** 1/2 /****

 

Stalag 17 (1953)

Well, there are just certain movies I should have reviewed by now. I’ve mentioned on multiple occasions how much I like prisoner of war movies like The Great Escape and Bridge on the River Kwai, but the first one to really put the WWII sub-genre came along in 1953, Stalag 17, a classic that doesn’t always get its due.

It’s nearing Christmas in 1944, and a breakout is planned in Stalag 17, a German prisoner of war camp deep in Germany for Allied fliers. The night of the escape, the two prisoners making the attempt are machine gunned outside the barbed wire fence, leaving the prisoners they left behind in Barracks 4 to question what’s going on. How did the Germans know details of the escape? The prisoners look to J.J. Sefton (William Holden) as the culprit, a possible stoolie who trades and bargains with the German captors for all sorts of luxuries from eggs to cigarettes to booze. Maybe Sefton has been giving away all their secrets for his own benefit, but Sefton knows otherwise. He may be a chiseler, but he’s not a traitor. The problem is simple though, he can’t prove it. Who among the other prisoners in Barracks 4 is the real culprit? He’s going to need an answer and need it quick before his bunkmates decide they’ve had enough of him for good.

From director Billy Wilder, ‘Stalag’ is a gem of a film, one of my favorites going back to when I was a kid. It was based on a Broadway play that had 472 showings over its run. The stage-based play roots are obvious, but in a good way. Filmed in a very appropriate, very effective black and white, ‘Stalag’ is set almost entirely in Barracks 4 as the story develops, Christmas approaching ever quicker. The only departures we have from the barracks are outside into the camp compound. We never leave the camp, the entire story based in Stalag 17. The crowded, claustrophobic barracks becomes another character with the bunks almost bumping into each other, the windows with the frost and ice sticking to the panes, the clothes hanging from lines hung from wall to wall. Franz Waxman‘s uncredited score is solid as well if underplayed, Johnny Coming Marching Home a key component of the story as well.

One of three nominations the movie received went to William Holden as Barracks 4 chiseler and general trouble-maker J.J. Sefton. Nominated for his part in Sunset Boulevard but not winning, Holden got a much-deserved win here, taking home the Oscar. More impressive? He was going up against Burt Lancaster and Montgomery Clift in From Here to Eternity. Holden brings this character to life, a less than sympathetic but still appealing individual who’s decided to make the most of his prisoner of war status. He’s going to live in comfort, and if that means dealing/trading with his German captors, then so be it. It’s not an issue until his bunkmates decide he’s the traitor giving the Germans all their secrets. This is where Holden’s acting steps up a notch, a desperate man now fighting for his survival instead of his personal comfort. Not often remembered as one of his best, but it’s a goodie.

Holden’s performance comes as part of a very solid ensemble cast that doesn’t feature a ton of A-list stars, instead turning to a group of familiar character actors. Start with Robert Strauss as Animal and Harvey Lembeck as Harry Shapiro, the barracks cut-ups, Richard Erdman as Hoffy, the barracks chief, Peter Graves as Price, barracks security, Neville Brand as Duke, the hothead, and Gil Stratton as Cookie, Sefton’s mousey assistant, and Robinson Stone, Robert Shawley, and William Pierson rounding out the bunch. Don Taylor co-stars as Lt. Dunbar, a prisoner in transit who comes under SS questioning, Jay Lawrence his impersonating, smart-mouthed traveling companion, Sgt. Bagradian. The comedy between Animal and Harry gets to be a little much at times, Bagradian’s impersonations a little forced, but as a collective whole it’s a good, strong, deep group of interesting characters.

It is hard to watch this without seeing the obvious influences some 10-plus years later with TV’s Hogan’s Heroes. Director Otto Preminger stars as Von Scherbach, the Stalag commander, an old-school German aristocrat and gentleman while Sig Ruman plays barracks guard Sgt. Schulz, a VERY obvious influence on John Banner’s famous Sgt. Schultz character in the TV show.

An episodic story that clocks in at exactly 120 minutes, there really isn’t a slow moment in Wilder’s Stalag 17. In directing his film, Wilder decided to shoot chronologically so that way the cast and crew wouldn’t know the twist — the identity of the barracks traitor — until the end of filming. The first hour or so of the movie blends the drama and comedy nicely setting up the second half of the movie. As the barracks traitor story comes to the forefront, that’s when ’17’ is at its best. The last 30 minutes are pretty perfect, Holden’s Sefton starting to piece the clues together in a great couple scenes, Wilder’s talent fully on display in shooting style, while the actual reveal and the finale are spot-on. This is a movie that doesn’t always get the recognition it deserves, but it sure deserves it. One of my favorites.

Stalag 17 (1953): ****/****