Bataan (1943)

That John Ford, he left his fingerprints wherever he went. His classic 1934 war film The Lost Patrol was spun and spun quickly into remakes over the next 20 or so years, including westerns, Last of the Comanches (an underrated gem), a Soviet film using the same premise, and two World War II movies released the same year in 1943, Sahara and Bataan. Today’s review. A Pacific setting with Bataan.

In the months following the surprise attack on Pearl Harbor, Japanese forces sweep across the Pacific against an unprepared American army. The fighting is especially rough on the Bataan peninsula, American forces retreating and defending with ever-dwindling supplies. Small forces are being ordered to hold their positions, including Sergeant Bill Dane (Robert Taylor) and Corporal Jake Feingold (Thomas Mitchell). Their mission? Blow up a key bridge over a deep mountain pass and prevent Japanese forces from rebuilding the bridge and advancing on the retreating army. They join a small squad that’s been assembled to do the job, commanded by Captain Henry Lassiter (Lee Bowman), and pull it off, the bridge going up in a huge, ground-shaking explosion. Lassiter is killed soon after though by a Japanese sniper, leaving a command void. Sgt. Dane steps in, pulling the men together as they prepare to hold off a Japanese force that’s increasing in numbers by the hour.

World War II is often remembered for the Allied victories like D-Day, Iwo Jima and countless others. The defeats? Not so much. This isn’t a defeat. This is the WWII defeat. Outnumbered and under-supplied, American and Filipino forces held out for three months before surrendering and ultimately becoming part of the infamous, horrifying Bataan Death March. How then do you spin that story to an audience during a war where the fighting raged stronger than ever? You don’t spin it. You present it almost as is with all the gruesome, hard-to-watch truths. From director Tay Garnett, this is a no-frills, brutally dark and effective anti-war movie that manages to illustrate the heroism of those men fighting on Bataan.

Movies released during a war about said war tend to be straight, out-and-out propaganda flicks, stories and characters meant to inspire and get the audience’s patriotic juices flowing. This movie….does not, not in the typical sense at least. Without resorting to any flag-waving tactics, ‘Bataan’ lays things out there about the heroism of the soldiers fighting on Bataan. The truth of it is that these men were basically abandoned by the government and armed forces because rescue simply wasn’t possible. They did a nasty job all the while knowing that the end of the road would not be a pleasant one. Here in ‘Bataan,’ a small 13-man squad is stationed in the jungle on a remote hillside overlooking a bridge in a mountain pass. This battle will not change the course of the war or even be remembered, but in the face of impossible, almost suicidal odds, these men stayed and fought. A true story? Nothing documented, but you know firefights and battles like this happened, and that’s what rings true the strongest.

This ahead of its time WWII flick gets points because of its casting. The squad left behind to do the job features an array of multi-ethnic characters, including white, black, Hispanic and Filipino soldiers defending the bridge. I’m typically hurt or miss about Robert Taylor, but this is one of his absolute best. His Sergeant Bill Dane is the American soldier, a tough, no-nonsense veteran trying to hold his command together. His growling voice, his chin covered with a two-day growth of beard, he looks like a tough NCO you’d want to follow into battle. Some of the movie’s strongest dramatic moments have Dane quietly considering if what he’s doing is right, if maybe he should give the order to retreat. But no, a soldier’s duty is a soldier’s duty, even if doing his job is incredibly dangerous and could likely claim both his life and the lives of all his men. Kudos to Mr. Taylor, an excellent, scene-stealing performance.

A forerunner of movies like The Dirty Dozen, ‘Bataan’ features an ensemble cast of actors from different ages, ethnicities and backgrounds. In 1943…so that’s impressive. Along with Taylor and Mitchell, look for Lt. Bentley (George Murphy), the pilot with a busted plane, Cpl. Todd (Lloyd Nolan), the troublemaker, Purckett (Robert Walker), the talkative sailor, Ramirez (Desi Arnaz), the tough Latino out of Los Angeles, Matowski (Barry Nelson), an engineer, Hardy (Phillip Terry), the medic, Katigback (Roque Espiritu), a Filipino pilot, Salazar (Alex Havier), the Filipino scout, Eeps (Kenneth Spencer), an African-American soldier and demo expert, and Malloy (Tom Dugan), the grizzled vet and cook. In as subtle fashion as possible, the cast shows the complete effort of the war, that everyone was involved in fighting and working together. White, black, Filipino, Hispanic, any and all, a cast and story ahead of its time concerning war movies.

Maybe the most striking thing about the movie is its portrayal of violence. We’re not talking Peckinpah-esque blood squibs, but there is blood. The violence is brutal and harsh without being graphic. It is quick and hard-hitting, the camera never lingering too long on any one scene. Characters are dispatched without warning, often in shocking fashion. An extended hand-to-hand combat scene late actually has the film sped up, giving the fighting a frantic, chaotic feel. The movie is interested in getting a message across, but again, handles it in incredibly subtle fashion. What is it? Sacrifices have to be made in war, and here, these men are ready to give their lives to hold this otherwise pointless speck on the map. The ending especially works, maybe the only real incident of true propaganda in the entire movie, but it just flows. A very emotionally effective ending.

Oh, and one more thing. ‘Bataan’ was filmed mostly on an indoor set, a claustrophobic, congested jungle flush with vegetation. Fog rolls in, blanketing the outpost at almost all times. Japanese snipers are all around, an almost entirely unseen enemy just waiting to strike. As far as mood and setting the scene, this WWII film is pretty perfect. The whole movie is for that matter. A gem of a film, one of the first anti-war films I can remember. Gutsy considering it was released right in the midst of the war.

Bataan (1943): ****/****

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Battle of Britain (1969)

Battle of BritainThe 1960s were the age of big budget war flicks, all-star casts leading the way in stories about World War II films. The most notable is The Longest Day – the telling of D-Day – but there were plenty more, including The Battle of the Bulge and today’s review, 1969’s Battle of Britain.

It’s summer 1940, and Germany’s Third Reich seems on the verge of winning World War II following the disaster at Dunkirk. But as Great Britain prepares for an inevitable invasion, the Germans crossing the English Channel, Germany pulls up and waits, giving the Brits time to prepare. What will decide the coming battle? Air superiority, the mighty German Luftwaffe and its 2,500 plans ready to square off against the British RAF and its 650-plus planes. With the odds overwhelmingly stacked against them, the British prepare for a battle that could save or lose the country.

As far as history goes, you wouldn’t believe that the history actually happened this way unless the books told us. It’s crazy. If Germany had kept pushing soon after Dunkirk, World War II may have been over in 1940. Instead, in one of the most world-altering decisions ever, German forces halted, basking in the win and prepping for the invasion. So…yeah, a story that makes for an excellent feature film.

From director Guy Hamilton, ‘Britain’ is a more than solid telling of the battle of Britain, condensing four months of fighting into a 132-minute final run time. At times, the story feels a little too quick, too condensed, but you always have a sense of what’s going on and where the British and Germans stand. It’s a whirlwind final product, but as a viewer, you never feel lost. You’re able to keep up and go for the ride, the exhilaration kicking in as we start to see the tide of the battle turning.

So I’ve written 4 paragraphs without a mention of any specific cast members. What’s wrong with me?!? ‘Britain’ isn’t the biggest all-star cast, but there are plenty of British and German actors filling out some major roles. The pilots include Michael CaineIan McShaneChristopher PlummerRobert Shaw and Edward Fox among several other familiar faces. The RAF higher-ups include Trevor HowardLaurence Olivier, Nigel Patrick and Patrick WymarkHarry Andrews, Michael Redgrave and Ralph Richardson also appear as British government officials.

What’s cool here is though the story is British-heavy, the Germans are fairly portrayed and not shown as monsters, simply soldiers trying to accomplish a mission. Well, except Goring, he’s a lunatic. Curd Jurgens makes a quick appearance as a German representative while Karl Otto Alberty appears briefly as a high-ranking German officer.

It’s an interesting mix, following the high command in their war rooms with maps and radar equipment spread everywhere mixed in with the footage of the pilots waiting for the call to take off and battle the incoming German fighters and bombers. Plummer gets a love interest too, romancing Susannah York in his free-time. Not just lovey-dovey story either, but an actual emotional subplot. A good mix overall in an encompassing story that strives to do a ton and mostly succeeds.

High point beyond the cast is pretty straightforward. The aerial sequences are second-to-none here. World War II-era planes go toe to toe, battling over England for aerial control. The action is set to composer Ron Goodwin’s energetic, patriotic score (reminiscent of his Force 10 from Navarone theme), and you can just sit back and watch the crazy action develop. It’s never overly graphic, but the violence can be startling too, both blood squibs and then just the quicker, more visceral explosions as a plane blows up.

An excellent World War II film, solid casting and amazing aerial sequences.

The Battle of Britain (1969): ***/****

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): ***/****

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 /****

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): ****/****