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): ***/****

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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): ****/****

 

PT 109 (1963)

John F. Kennedy  is known for any number of things from a tragically shortened life. His beautiful wife, Jackie, his supposed affairs with Marilyn Monroe among others, his charm and popularity, his turbulent presidency that included the Cuban Missile Crisis, and most tragically, his assassination under the rifle of Lee Harvey Oswald. One of the most fascinating parts of his adventure-filled life? His World War II exploits as told in 1963’s PT 109.

While the fighting rages in the Solomon Islands in the Pacific in 1943, Lt. John F. Kennedy (Cliff Robertson) arrives at a small naval base specializing in patrol torpedo boats (PT) meant to keep Japanese forces at bay. Kennedy is given command of PT 109, a beat-up old boat that has seen far better days. He’s given just a week to get the 109 ready for action, assembling a crew, including Ensign Leonard Thom (Ty Hardin), cleaning the boat, and rehabbing the engines. They manage to come in under deadline, Kennedy, his crew and the 109 thrust immediately into action. The day-to-day life of a PT boat is a dangerous one though, the boats meant to be used to buy time while the U.S. Navy still tries to recover from Pearl Harbor. Patrols, routine or not, rescues, deliveries, Kennedy and his crew take it all on, but the mission that will put them all in the history books awaits one pitch-black night in the Blackett Strait in the Solomon Islands.

One of my favorite movies growing up, I can still go back and visit this 1963 WWII movie from director Leslie H. Martinson and enjoy it from beginning to end. This isn’t the most hard-hitting of movies, but like some other WWII movies from Warner Bros., there is a distinct visual look and a straightforward style that plays well. Could things be tightened up a bit with a 140-minute movie? Sure, here and there, but it’s an excellent film just the same. It was filmed in the Florida Keys, and it’s sunny and sandy with plenty of palm trees to help stand in for the Solomon Islands in the Pacific. The musical score from composers David Buttolph and William Lava knows when to lighten the mood and when to show the developing drama, a score that sounds similar to another Warner Bros. WWII movie, 1962’s Merrill’s Marauders.

Released in theaters less than six months before his death in Dallas, PT 109 was made with the help of Kennedy right in the midst of his term as President. He even had final say on the actor who would play him, Robertson being his ultimate choice. It ends up being a great pick, one that makes the movie far more memorable in my eyes. Besides the striking physical resemblance — look at Robertson in an iconic JFK picture HERE — Robertson nails the heroic, likable, charming part of a future American president. That’s the movie’s goal, to show Kennedy as a hero. More on the details in the next paragraph, but Kennedy’s actions were more than enough so Martinson didn’t have to stretch things too much. Robertson’s Kennedy is smart, quick with a comeback and a plan, a leader who’s respected by his men and fellow officers, and a capable commander with a knack for doing the right thing. It’s not the most in-depth characterization, but it never set out to be. Kudos to Robertson, already one of my favorites.

Semi-SPOILERS from here on in. The truth of the story behind PT 109 is remarkable in itself. Patrolling in the Blackett Strait a dark August night, the 109 was struck by a Japanese destroyer similarly on patrol. Kennedy’s boat was ripped in two pieces, two crewmen killed in the collision. Banding the men together, Kennedy got the survivors to swim to a far-off island and hopefully wait for survival. What followed is and was an inspiring story in itself, Kennedy ultimately winning the the Congressional Medal of Honor for his heroic actions. The movie itself is divided into two halves, the first introducing Kennedy, the crew, the boat and their exploits, the second half following its chapter in history as a Japanese destroyer tears the little boat apart. Both halves are excellent, but it’s hard to beat the second half as the survivors desperately wait for help in one form or another, Kennedy swimming out into the Strait at night to flag down an American ship.

While the focus is obviously on Robertson as Kennedy, the supporting cast is very solid without stealing the spotlight. Hardin as 2nd-in-command Ensign Thom has a good chemistry with Robertson, Robert BlakeNorman Fell, Clyde Howdy, John Ward and Biff Elliot starring as the most visible of the 109’s crew. James Gregory is a scene-stealer as Commander Ritchie, the leader of a squadron of PT boats, a veteran officer who’s never seen combat but is always searching for the best out of his men. Even Robert Culp shows up at the halfway point as Ensign Barney Ross, an old friend of Kennedy’s who ends up on the 109 for its fateful missionMichael Pate making a memorable appearance as Evans, an Australian coastwatcher who plays an integral part in the eventual rescue of Kennedy and the remaining survivors. Also lending his voice talents in an uncredited narrator role is Andrew Duggan.

This isn’t a WWII movie that rewrites the genre. It is a movie meant to honor the heroics of future president John F. Kennedy, and it does it well. Exciting with some good action, some genuine laughs and some lighter moments, and Robertson in a great leading part as Kennedy himself.

PT 109 (1963): *** 1/2 /****

Shenandoah (1965)

As far as directing powerhouses of the 1960s, Andrew V. McLaglen will never be remembered as one of the greats. He started off in television before making the jump to feature film, teaming several times with John Wayne while also specializing in audience friendly “guy movies.” Good guys versus bad guys, lots of familiar faces and situations, you know the formula. One of his best? An underrated Civil War drama, 1965’s Shenandoah.

It’s 1864 in Virginia, and the tide of the Civil War has turned as the Union forces are slowly beating down the Confederate armies. Doing his best to remain free of the bloody fighting, farmer and patriarch Charlie Anderson (James Stewart) wants nothing to do with the war. Both for himself and his family — seven kids, one daughter-in-law — Anderson simply wants to keep working his 500-acre farm and get through the war unscathed. Fight for Virginia? Fight for slaves he doesn’t have? He fights for what he believes in, his family and his farm. Well, that’s what he’d like to do. While the fighting rages on, Charlie is stunned when he finds out his youngest son (Phillip Alford) has been confused as a Confederate soldier and captured by nearby Union forces. Now the war and the fighting that Anderson has done so well to steer clear of has landed square on his front porch. Can he find his son amidst the hell of war?

This was a movie I watched often growing up when my sister and I had sleepovers with my Grandma. It made an excellent Civil War double feature with Friendly Persuasion, and let me tell ya, they both hold up! I watched this McLaglen-directed Civil War drama for the first time in years, and it resonated just as much now as an adult as it did when I was a kid, if not more. McLaglen had some excellent movies to his name — The Wild Geese is a favorite, Hondo, McLintock are also excellent — but this is his best movie overall. The story is a series of very effective, often moving and often disturbing vignettes, all held together by the Anderson family. Filmed on-location in Oregon and California, ‘Shenandoah’ is an underrated visual film, and the musical score from composer Frank Skinner is a gem. So what stands out viewing this one as a 32-year old, not a 13-year old kid?

That would be James Stewart, one of my favorites in just about any movie he’s in. This doesn’t get the attention or notoriety as one of Stewart’s best performances, but it certainly belongs in the conversation. I love what he does with the part of Charlie Anderson, a stubborn, feisty Virginia farmer and widower looking out for the best intentions of his family. He doesn’t care about the war, about slavery, about Union and Confederate. He will do anything, ANYTHING, to protect his family. Stewart has some great scenes with the younger supporting cast, especially Alford’s youngest son, only called ‘Boy,’ with his daughter, Jenny (Rosemary Forsyth), daughter-in-law, Anne (Katharine Ross), and his sons. There are too many memorable, emotional scenes to mention, but my favorites are the most simple. Minutes before the Andersons go to church each Sunday, Charlie visits his wife’s grave and just talks to her. Simple perfection, Stewart absolutely nailing the underplayed but charged scenes.

Stewart is the unquestioned star of McLaglen’s film, but ‘Shenandoah’ offers quite the ensemble of recognizable faces. Glenn Corbett and Patrick Wayne play Jacob and James, the two oldest brothers. Corbett especially stands out as Jacob who’s beginning to question if their choice to stay out of the war is the right decision. Wayne is solid too, especially in his scenes with Ross. In her film debut, Forsyth is excellent, a subtle scene-stealer as innocent, tough and thoughtful Jenny who’s also interested in a young Confederate soldier, Sam (Doug McClure). The other Anderson boys include Charles RobinsonJim McMullan and Tim McIntire. Maybe the best thing you can say about the story is that the family dynamic, it just works. You believe them as one cohesive unit, one that stands together through thick and thin.

But wait, there’s more! Also look for George Kennedy as a sympathetic Union officer, Gene Jackson as Gabriel, a friend of Boy’s, a slave, Paul Fix as the local doctor, Denver Pyle as the pastor, James Best as Carter, a fellow prisoner who takes Boy under his wing, Harry Carey Jr. as another Confederate prisoner, Tom Simcox as Lt. Johnson, a Confederate officer, with Kevin HagenDabbs Greer and Strother Martin also playing small but memorable parts.

So 32-year old me certainly picked up some new things, or at least was able to process things differently. This is one hell of an anti-war flick. The portrayal of the latter stages of the Civil War is unsettling and often times, disturbing. Death awaits around every corner, hiding behind every tree. The lines are up in the air as the war takes a turn toward its ultimate conclusion. A late battle between a small Confederate camp and a larger Union force with heavy artillery is quick and awful and uncomfortable, one of the more underrated battle sequences I can think of. The last half hour especially features one kick in the gut after another that truly hammers home the anti-war message. And that last scene? Pretty perfect, the possibility of hope lingering in the air amongst all this pain and suffering and death. One of my favorite movies.

Shenandoah (1965): ****/****

The Sand Pebbles (1966)

the_sand_pebbles_film_posterIn a film career that spanned 24 years, Steve McQueen earned a reputation as one of the coolest actors to ever grace the screen. He had style and a cool, badass factor that was on display in movies like Bullitt, The Great Escape and The Thomas Crown Affair, among others. What’s lost in the shuffle? As downright cool as McQueen was, he was just as strong an actor. Nowhere was that more on display than 1966’s The Sand Pebbles.

It’s 1926 in China, and sailor Jake Holman (McQueen) is arriving at his newest ship, the San Pablo, a US gunboat from the Spanish-American War. Holman has a bit of a track record, transferring from 7 ships in 9 years in the navy. A more than capable sailor, Holman has little use for military tradition, the rigidity of military life, and the thought that he should be ready to die for a cause he doesn’t believe in. Instead, he wants to be left alone in his engine room, taking care of the ship’s engine like few can. Holman wants to mind his own business and not be bothered, but as China tears itself apart, the San Pablo finds itself fighting for its life.

From director Robert Wise, ‘Sand’ is a true epic in an era and decade that was full of big, gigantic, roadshow epics. Based off a bestselling novel from author Richard McKenna, it’s a gem. It clocks in at 182 minutes and streamlines the novel (which is 520-plus pages) to the essential character, story and history. It was filmed on-location in Taiwan and Hong Kong and looks and feels authentic. You feel like you’re there in 1920s China, a powderkeg just waiting to blow up. Composer Jerry Goldsmith‘s score earned an Oscar nomination as well, mixing the booming, epic touches with quieter, more emotional moments and then some Chinese influences too. Listen HERE for an extended sampling of the score.

In his only Oscar-nominated role, McQueen absolutely brings it, showing off his acting chops in every scene. What’s most impressive is that he doesn’t ham it up, get too theatrical, or try to steal his scenes. He just does it, delivering his most human performance as Jake Holman, the US sailor/engineer who only wants to do his job. Talk about a tragic character, Holman gets one thing thrown at him after another. All he wants is to find his place in the world, but all the while, he’s pulled in 100 different directions. It’s an incredibly emotional part from the first time we meet Jake through all his trials and tribulations. Underplayed and perfect, nowhere is that more evident than Jake introducing himself to the San Pablo’s engine, stating “Hello, engine…I’m Jake Holman.” Criminally perfect, McQueen’s soft smile filling up the screen. Here is a man at his happiest.

McQueen leads an impressive ensemble, but his scenes with 2 characters especially carry the movie. The first is the love interest with Candice Bergen‘s Shirley, a young, idealistic and naive missionary who sees all the good in tortured Jake. Their scenes together are quiet and moving, two disparate souls brought together in unlikely situations. The other key relationship is between Holman and Po-Han (Mako, an Oscar-nominated part), a young Chinese man who Holman takes under his wing, teaching him all about the science of the engine. The scenes of the experienced engineer teaching Po-Han are the heart of the movie, bringing Jake and Po-Han to life, a brotherly relationship, a father-son dynamic, a teacher and student, but it all works.

So much more cast to mention! Reuniting after 1963’s The Great Escape, Richard Attenborough has an excellent chemistry with McQueen, playing veteran sailor Frenchy Burgoyne who clicks immediately with Jake. Frenchy’s subplot with a young Chinese girl, Maily (Emmanuelle Arsan) is especially heartbreaking. Richard Crenna delivers an incredibly underrated performance as Capt. Collins, the San Pablo’s much-maligned commander. Stiff, rigid, a patriot, intelligent but constantly worrying, Collins must find a way to get the San Pablo to achieve its mission, keeping countless plates spinning at all times. The crew includes Charles Robinson, Simon Oakland, Ford Rainey, Joe Turkel, Gavin MacLeod and Barney Phillips. Also look for Larry Gates as a devout missionary who won’t let anything stop him from achieving his mission.

While the story and historical setting are essential to the movie’s success, the true essential is the characters and how the history impacts them. Go along for the ride, regardless of your knowledge of Chinese history (I know pretty much nothing). There isn’t much action until the final 30 minutes, the San Pablo battling its way through a well-guarded boom defended by Chinese nationalist troops. The finale itself is far more small-scale, a moonlit plaza serving as the backdrop between several San Pablo sailors and some well-hidden Chinese troops.

And that ending…my goodness, that ending. As tough as it is, McKenna’s novel is actually much more harsh! The final line is a doozy, one that will no doubt stick with you long after viewing. McQueen at his absolute finest — up there with Papillon as his strongest performance — in this epic historical story with a great cast, well-developed story and memorable musical score. A must-see!

The Sand Pebbles (1966): *** 1/2 /****

Bullitt (1968)

Let’s cut away all the fluffiness and cut right to the bone. Steve McQueen is maybe the coolest actor to ever work in Hollywood. An underrated actor who had an incredible on-screen presence, he had his biggest success and popularity in the late 1960s. The Cincinnati Kid, Nevada Smith, Thomas Crown Affair, The Sand Pebbles, all excellent parts in good to great films. Nowhere was McQueen more at his coolest than 1968’s Bullitt.

A respected and hard-edged San Francisco detective, Frank Bullitt (McQueen) has been tasked with a somewhat dull but essential task from ambitious politician Walter Chalmers (Robert Vaughn). Prepping for a Senate hearing about a Mafia takedown, Chalmers has enlisted a key witness (Felice Orlandi), and Bullitt and two other detectives must babysit him over a weekend until the hearing. Instead, the witness is killed by two assassins, forcing Bullitt to find out what’s going on. Something doesn’t fit together as he examines the clues and evidence, but the pressure is on. Chalmers needs a scapegoat, and Bullitt seems like the perfect target to take the fall. Knowing he’s been backed into a corner, Bullitt has an extremely limited window to find out exactly what’s going on.

The late 1960s were one of the most influential periods in Hollywood history, changing the way films were made and more importantly, the stories that were told. From director Peter Yates, ‘Bullitt’ is a police/cop movie like none before it. It is a smart, stylish cop drama/thriller that gets better with each viewing. For starters, it was filmed in San Francisco, setting the stage for Dirty Harry, McQ and a whole cop genre to move into the city. It is an ideal backdrop for the story; a polished, good-looking city that is nonetheless hiding secrets. The score from Lalo Schifrin is a good mix of quiet, soothing jazz and faster-paced, more traditional yet still exciting musical cues (listen HERE). The style in an almost documentary-like fashion reflects some of the French crime thrillers that I’ve really come to appreciate, giving ‘Bullitt’ a different edge more than just the same old, same old cops and robbers story.

That starts with Steve McQueen as Detective Frank Bullitt, a veteran cop who always gets the job done but usually how he wants to do it, not how he should do it. That basic write-up is as cliched as the countless cop movie stereotypes that have been done to death in the years since, but McQueen gives the lead performance a different edge. Never one for huge dialogue scenes, McQueen’s Bullitt is a huge presence whenever he’s on-screen. He does more with a look here or there than many actors could do with an entire monologue with the camera trained on them. There’s a self-assured confidence in the part, a quietness about it too. Bullitt is an expert at what he does, but he’s not interested in fame or accolades. He does it because he’s really good, so good that he’s become almost desensitized to the violence he sees on a daily basis. McQueen = cool.

Okay, so we’ve talked about the plot, Steve McQueen’s badass-ness (is that a word?), and hhhmmm, what else? Oh, right, the cars. Some 45 years since its release, ‘Bullitt’ is still remembered fondly for an infamous car chase that opened the door for countless knockoffs, remakes and retries. Driving his 1968 Ford Mustang, McQueen pursues two assassins (driver Bill Hickman, killer Paul Genge) in, around and through San Fran, two muscle cars going at it for everything they’re worth. Schifrin’s soundtrack is left by the wayside, just the sounds of the two engines doing battle providing all the soundtrack that’s needed. Looking back on it now, it isn’t a flashy sequence, but it is clear how much it has influenced just about every movie car chase since. It is an extended sequence that runs about 10  minutes total (near the film’s halfway point), one that will definitely get the adrenaline pumping.

Now sometimes at the expense of the film’s style is the film’s story. It took me 3 or 4 viewings to really get everything down just right. Not to throw this out there as a cop-out, but an understanding of the story isn’t a must here. You watch for the style. Some reviewers/critics have an issue with the pacing, some point-blank stating that it’s a boring movie. It isn’t an action-packed movie, that’s for sure. ‘Bullitt’ takes its time but always knows where it wants to go. A chase through a hospital is subtle and underplayed but incredibly full of tension, as is the finale at the San Francisco airport as Bullitt chases a suspect across runways in use. We see little departures into San Fran with Bullitt’s girlfriend, Cathy (Jacqueline Bisset), on dates and at work, to Bullitt’s apartment, to follow up with witnesses. It’s rarely flashy, but there’s something charming just the same about that assured style.

Backing McQueen up, Vaughn does what he does best; gentlemanly slimy to perfection. His Chalmers is smooth and suave, but he’s really a snake waiting in the grass to strike. Don Gordon (a longtime, close friend of McQueen) is nicely cast as Delgetti, Bullitt’s longtime partner with Simon Oakland and Norman Fell as their superiors. Also look for Robert Duvall in a small but key (and effective) part as a cab driver whose help Bullitt enlists as he tries to figure everything out.

One of my favorites, an iconic flick from the 1960s, and one of Steve McQueen’s all-time bests. Haven’t seen it? What’s wrong with you?!? Highly recommended.

Bullitt (1968): ****/****

The Savage Guns (1962)

tierrabrutal22If westerns are my favorite genre (they are), then spaghetti westerns would have to be my favorite sub-genre. Director Sergio Leone often gets credit for starting the spaghetti western craze, and he did…but his movies weren’t the first movies in the genre. Leone just put them on a worldwide level. The first spaghetti western (of sorts)? That’d be 1962’s The Savage Guns.

It’s 1870 in Sonora, Mexico along the U.S./Mexico border. A land baron, Ortega (Jose Nieto), is terrorizing the area and all its smaller ranchers, including an American, Mike Summers (Don Taylor). Ortega sends his right-hand man, Danny (Alex Nicol), and his gang to systematically rob the ranchers of all their money – calling it protection money – and then shooting them if they don’t comply. There seems to be no solution, until an infamous gunslinger, Steve Fallon (Richard Basehart), drifts into town. Will Fallon stand with the smaller ranchers or will he move along to the next town?

Well, a little mix-up here. The recent airing on Turner Classic Movies listed this western from 1973, not 1962. Whoops! ‘Savage’ was backed by British and Spanish producers, directed by Michael Carreras, and was the first western to be shot on-location in Almeria, Spain, specifically the same spot as the Caulder ranch in 1971’s Hannie Caulder. All the familiar touches that would become synonymous with the spaghetti western genre are there, from the locations to the big, booming musical — listen here —–> — score (composer Anton Garcia Abril) to the cynicism and violence evident throughout the story. It’s rough at times, a little disjointed and slightly odd, but its influence on countless westerns to come over the next 10-plus years is evident with each passing scene.

One of the biggest influences the spaghetti western had was reviving the careers of American actors who had lost their star power, or catapulting young actors into stardom and the spotlight. ‘Savage’ leans more toward the reviving department. Never a huge star but a reliable character actor, Basehart is a little miscast as Fallon, the deadly gunfighter with quite a reputation. He looks to be having some fun but doesn’t bring a ton of energy to the part. In his last starring role before turning to the director’s chair, Taylor is solid as Summers, an ex-Confederate officer who has vowed to never use a gun again. Nicols does what he does best, hamming it up as the sneering Danny Pose (quite an intimidating name, huh?).

Here’s the weird thing I’m trying to wrap my head around. This isn’t an especially good movie. In some parts, it’s downright dumb, even bad, but I was entertained. Partially, it’s the casting. No big names, just recognizable faces. It’s hard to describe though. ‘Savage’ plays out like a blueprint, a rough draft for what’s to come, especially its depiction of on-screen violence, and one particularly brutal wound for a main character. The spaghetti westerns especially took that to heart, wounding, crippling, maiming and torturing countless anti-heroes to come!

While American stars often filled out the lead roles, Spanish, Italian and actors from all over Europe played the supporting parts. Nieto is the villain, Ortega, who’s generally pretty weak and isn’t given much background. Paquita Rico plays Franchea, Sommers’ wife (not given much to do other than look worried). The lovely Maria Granada (listed incorrectly as Manolita Barroso on IMDB) plays Juana, the love interest for Fallon. The age difference between Barroso and Basehart sure makes those love scenes look…odd? Uncomfortable? Forced? Yeah, all of that. Spaghetti regular Fernando Rey is Don Hernan, an exiled rancher of sorts. Some other familiar faces pop up in supporting parts as bandits, farmers and soldiers.

All my criticisms aside, I genuinely liked this first spaghetti western, in spite of its flaws. The silent anti-hero, the over-the-top villain, the beautiful locations, the whistle-worthy musical scores, the mustachioed bandits, the brutal violence, it’s all there. It’s fun, and sometimes that’s all you need. Western fans should definitely get a kick out of this one. Keep an eye out for a re-airing on TCM, the print was gorgeous even if the audio was sketchy at times.

The Savage Guns (1962): ** ½ /****