The Trout Guide to War Movies
Mike Trout
THE TROUT GUIDE TO WAR MOVIES
Copyright 1989 by Michael Trout
All Rights Reserved
INTRODUCTION
The following is an alphabetic listing of 205 war movies (plus three war
programs aired on television) and my associated personal views. Each is given
a rating (standard four-star scale) based on my overall opinion of the film.
First, remember that the reviews are one person's opinion only. No one should
look at the Trout Guide as anything like a standard or benchmark. Anybody
else who watches war movies has just as much right as I to produce something
like this, and it would by default have just as much validity.
Like all human feelings, my opinions are highly subjective and even change
with time. Over the long period the Trout Guide has been in production, I've
re-written many opinions after saying to myself "did I actually write THAT?"
I hope you find yourself disagreeing with much of the Trout Guide; it is
strictly a catalyst for thought. If you find yourself agreeing with
everything I say, may I suggest you check the Yellow Pages under "Counseling."
I have included every war movie that I've ever seen mentioned in
rec.arts.movies (which explains the inclusion of three television programs),
unless I haven't seen it. I've also included many other war movies that I
think deserve mention for one reason or another. I have NOT included every
war film I've ever seen; there are literally dozens of war movies that are
simply near-identical clones of one another, with nothing of any importance
that I could determine. In my opinion, there are a lot more bad war movies
than good ones, and I can't see much point in discussing all the bad ones. If
you don't see a certain film listed, it's either because I haven't seen it
(I'm STILL frantically trying to see _The_Big_Parade_!) or because I don't
think it's important enough to warrant mention. Still, only one or two
interesting scenes in an otherwise poor film usually earns it a mention in the
Trout Guide, as with _Halls_of_Montezuma_, for example.
In each review, I've tried to include an extremely brief plot synopsis, along
with a brief look at what I consider to be the high and low points of the film.
I'm operating on the journalistic assumption that there will always be readers
who aren't familiar with even the most famous films, so I've tried to
accommodate everybody. In many cases (if not most), the plot synopsis is too
brief to really describe the film very well at all, but I decided to keep this
type of thing to a bare minimum. As you can see, the Trout Guide is
appallingly long already. My apologies if I left out your favorite details.
Any errors in the Trout Guide to War Movies are my responsibility alone.
Those of you who are familiar with Leonard Maltin's _TV_Movies_ will
undoubtedly note quite a degree of similarity. I plead guilty. Maltin is, to
me, one of the most knowledgeable and incisive film observers of all time
(although I DO wish he would leave the repugnant _Entertainment_Tonight_!). I
cannot help but be inspired by him. You won't find many major disagreements
between Maltin and myself; if you'd like to save time and not restrict yourself
to war movies may I suggest you invest in a copy of _TV_Movies_ and forget
about the Trout Guide to War Movies. Still, I think you'll find some unique
thoughts here, and you WILL find me disagreeing strongly with Maltin on some
films, such as _Apocalypse_Now_ and _The_Big_Red_One_.
You will also find that I have used an extremely loose definition of "war
movie." While I would certainly not classify _To_Have_and_Have_Not_, _Aliens_,
and _She_Wore_a_Yellow_Ribbon_ as "war movies," they are here because their
organizational conflict contexts make their atmospheres possible. And since we
must never forget Clausewitz' warning that war is little more than an extremely
violent form of politics, films such as _Kent_State_ are here too.
The two most intense activities that humans engage in are sex and war. Sex is
good, so its portrayal is heavily restricted on film, while war is bad, so just
about anything goes there. The result is a kaleidoscope of war movies that try
to cover many different subjects but end up looking amazingly alike. The
battlefield accuracy of almost every war movie leaves much to be desired. I
have never been in combat, but anyone who watches actual newsreel footage and
compares it to a war movie will find major differences. Some films do fairly
well capturing some aspects of battle (_Platoon_ with chaos and raw fear,
_The_Red_Badge_of_Courage_ with surrealness, and _Paths_of_Glory_ with the fact
that you usually can't see the enemy). But an appalling percentage of war
movies include battle scenes in which it's crystal clear what's going on, where
the explosions are all identical in noise and intensity (whether they're due
to a hand grenade or to a 1000-pound bomb), and where nobody is ever paralyzed
by fear.
Samuel Fuller, director of many war films (including the very disappointing
_The_Big_Red_One_), once described what a "real" war movie would be like. Once
the audience is seated in the theater, you turn out all the lights, except for
an occasional million candlepower photoflash that blinds everybody. You turn
up the speakers to full volume and play nothing but the sounds of explosions,
gunfire, yelling, and screams of agony. Continue this until it becomes an
unending, ear-splitting din. Pump choking, acrid smoke into the theater until
everybody is gagging. At your option, change the theater's internal
temperature so that it is either above 100 degrees or below 0 degrees
Fahrenheit, then turn on the sprinkler system. Finally, your ushers (wearing
night-vision equipment, of course) walk up and down the aisles, carrying
revolvers, swords, and clubs, with which they randomly shoot, stab, and
clobber members of the audience.
Of course, as Fuller pointed out, no one would attend such an event. Yet it
gives a somewhat better idea of reality. Perhaps war film directors,
including Fuller, need to keep this story always in mind. One thing that
always sticks in my mind is the fact that of all US WW2 combat infantrymen,
only one out of four ever fired their weapons. In any real battle, most
participants on both sides are either cowering in fear or just watching from
behind cover. Firing your weapon attracts attention, and few soldiers want to
be attractive on a battlefield. Yet how many war films have incorporated this
simple yet frightening fact?
One personal quirk of mine that shows up in the Trout Guide is my desire for
good technical and historical accuracy. Given the above disclaimer, I'd like
to emphasize that it makes little difference to the quality of a film whether
a group of US WW2 soldiers are shooting at a real Nazi tank or whether it's
actually an old US Korean War tank that the set decorators have painted with
German crosses. But I find technical errors annoying and technical accuracies
a pleasant extra bonus. This guide points out many cases of both, especially
when they are continuous enough to make an impression on me. Note that
technical mistakes do not necessarily drag down a great film (_Casablanca_,
for example), while extreme technical accuracy will not save a bad one
(_Red_Dawn_). But I'll be the first to admit that I usually try to catch the
otherwise mediocre _Kelly's_Heroes_ just to see the German Tiger tanks.
As most of these films in the Trout Guide were produced in the USA, they tend
to be about American forces and their battles. That's to be expected, but if
you went by Hollywood standards you'd think that the only important thing in
WW2 was a handful of grimy US infantrymen. The gargantuan Russian Front seems
to have disappeared altogether. I have a special liking for certain films
that take big risks by covering obscure subjects that are ignored even by US
public schools. Try _Cross_of_Iron_, _Italiano_Brava_Gente_, and
_Weekend_at_Dunkirk_ for a taste of something you may have been unaware of.
Enjoy! Feel free to e-mail and post comments, criticisms, flames, suggestions,
or whatever. I hope that my efforts in producing the Trout Guide to War Movies
will be rewarded by the users of the Trout Guide finding it enjoyable, useful,
and thought-provoking.
--
NSA food: Iran sells Nicaraguan drugs to White House through CIA, SOD & NRO.
~~~~~~~~~~~~~~~~~~~~~~~~Michael Trout (miket@brspyr1)~~~~~~~~~~~~~~~~~~~~~~~~~
BRS Information Technologies, 1200 Rt. 7, Latham, N.Y. 12110 (518) 783-1161
"Who watches the watchmen?" --Epigraph of the Tower Commission Report, 1987
Mike Trout
THE TROUT GUIDE TO WAR MOVIES
Copyright 1989 by Michael Trout
All Rights Reserved
The African Queen ***1/2 1951
Although this great classic is not a "war film", it has a wartime
setting. The "war" elements are minor and a bit inaccurate, but any film
dealing with obscure military subjects (Africa in WW1) is always a refreshing
change. Of course, Bogart and Hepburn make this into one of the greatest
adventure films ever made. A pure joy, no matter how many times you see it.
The Alamo **1/2 1960
Pretty much the usual John Wayne stuff, although the battle sequences
are spectacular and above par. Considerable liberties are taken with historical
reality; the real story of the Alamo has yet to be told. Good supporting cast.
Alfred the Great **1/2 1969
A well-acted film about the leader of 9th-Century England and his
success in throwing out the Danish invaders. Unfortunately, the script is very
unfocused and confused and fails to make much of an impact. Very well-done
battle scenes help to keep up the interest level, but not by much.
Aliens ** 1986
Far more a war film than its predecessor, this movie about a battle
between aliens and future US Marines packs a wallop. Unfortunately, it's at
least 30 minutes too long and takes FOREVER to get going. Lots of good scenes.
All Quiet on the Western Front ***1/2 1930
Despite numerous attempts, this classic has never been equaled. A bit
plodding at times, but no other film has ever done such a terrific job of
portraying the human cost of war. The movie has a unique understanding for
the innocent soldiers sucked into the maw of the Great War God. The unusual
point of view--German soldiers in WW1--help make this film unique. This film
should be required viewing for anybody who thinks war is fun and/or glorious.
Apocalypse Now *1/2 1979
Sorry, but I didn't like it. Several terrific scenes, but what does it
all mean? A film should be more than just pretty pictures. Does not compare
well with its parent short story, Conrad's _Heart_of_Darkness_. I'm from the
old school of movie-viewing, which says that a film should either tell a story
or have something to say. The ending is particularly ludicrous. One saving
grace: does a good job of portraying the "Twilight Zone" weirdness of Viet Nam.
Au Revoir, Les Enfants ***1/2 1988
A pleasant and thoughtful little film about French children growing up
under Nazi occupation. A solid "coming of age" movie that cleverly shows how
everyone's life was persistently affected and distorted by the enemy presence.
Away All Boats ** 1956
This film plays like standard WW2 propaganda, despite its 1956 release
date. Some potential, but drowns in the muck of super-patriotism.
Bananas *** 1971
This Woody Allen comedy about Latin American revolutionaries is
hilarious at times and is one of his better films. But it seems a little dated
today and too many of the running gags fall flat. Worth seeing once.
Barry Lyndon *** 1975
Not a war movie, but the Napoleonic battle scenes have never been done
better. Something of a disappointment for Kubrick, but Barry Lyndon is an
engaging 18th century character well played by Ryan O'Neal. Worth a look.
The Battle of Algiers *** 1965
A somewhat dry and unmoving account of the Algerian revolution against
their French colonial masters. However, this film still stands as an accurate
documentary-style view of this war. A good companion to _Lost_Command_.
Battle of Britain ** 1969
A major disappointment. Probably the best--and most accurate--air
combat scenes ever filmed. Unfortunately, the rest of the movie doesn't fly.
Lots of cameo appearances that are more distracting than useful, and a script
that seems to trivialize this important battle. With all the effort that went
into the aerial scenes, one would think a similar effort could have been made
elsewhere. Still, the real and semi-real Spitfires, Bf 109s, He 111s and
Hurricanes are a thrill to watch. Required viewing for airplane freaks.
Battle of the Bulge *1/2 1965
This is what happens when Hollywood makes a standard war film, using
Hollywood rules rather than the laws of war. The script writers probably never
got any closer to real war than arguments with their mistresses. Big stars
make a valiant effort, but nothing will save this disaster. Worse, the
historical accuracy of this film reaches new lows. The real reasons for the
Allied victory are not even mentioned. This movie is pure fiction.
Beau Geste ***1/2 1939
A true classic in every sense. A flawless script and terrific
characters keep this movie in your mind long after you've seen it. Despite a
somewhat old-fashioned look at the "glory" of war, this film is so well made
that it soars above any possible hindrances. The atmosphere of the French
Foreign Legion in Africa lends a nice feel. A 1966 remake didn't stack up.
The Bedford Incident *** 1965
Pretty good Cold War thriller about a US ship and its Queeq-like
captain. Excellent acting, but the somewhat trite script makes things seem a
little unreal at times. Good editing lends a fair amount of suspense.
The Best Years of Our Lives **** 1946
Don't miss this. The best film ever made about "coming home". No
combat at all, but you will feel the pain of war more than with most "standard"
war films. An ageless masterpiece, with perfect dialogue, sparkling
characters, and a dynamic plot, as U.S. WW2 vets return home to find their
world has uncomfortably changed. This film also has some very innovative
camera work that is often overlooked. You can't see this movie too many times.
The Big Red One ** 1980
If you like _Sgt._Rock_ comic books, you'll love this movie. Director
Samuel Fuller set out with a lofty goal, but somewhere he got lost. This was
SUPPOSED to be the most realistic war film ever made. An excellent beginning
and ending, but the rest of this WW2 U.S. infantry film is a juvenile bore.
Billy Budd **1/2 1962
A somewhat overrated look at the horrendous conditions on board British
warships of the late 1700s. Good acting and crisp script don't completely
overwhelm the unemotional atmosphere. Adapted from the Melville classic.
The Blue Max **1/2 1966
Yet another example of great flying scenes in a mediocre movie. The
original novel's fascinating story of a sicko WW1 German pilot manages to save
this film from disaster. But it can be painful to suffer through the ground
scenes to get to the aerial combat. Watch _The_Dawn_Patrol_ instead.
The Boys in Company C *** 1978
Not a bad Viet Nam film, although not up to the emotional standards of
_Platoon_ or _The_Deer_Hunter_. A good portrayal of the grunt's frustrations
with incompetent officers. A decent film that doesn't try to be a blockbuster.
`Breaker' Morant *** 1979
An enjoyable Boer War film containing elements of both _Gallipoli_
and _Paths_of_Glory_, although not quite up to the sparkling standards of
either. A fine movie in its own right, with notable and moving performances.
The Bridge on the River Kwai ***1/2 1957
One of the great adventure blockbusters. Terrific pacing and directing
lead up to a shattering climax. This WW2 film could have been corny as hell,
but it flows so smoothly that we get swept up with the characters. Serious
flaw: overly stereotyped British, American, and Japanese nationalities.
The Bridges at Toko-Ri **** 1954
Like a fine wine, this film gets better with every passing year, and
it should be slowly and carefully savored. A powerful anti-war message lurks
under the surface patriotism. At first glance, this movie seems to be little
more than the standard Hollywood gung-ho aircraft carrier tale. But powerful
subtleties--and not-so-subtleties--carry this Korean War film into the ranks
of the great anti-war statements. The US Navy co-operated fully with the
making of this film, and the joke's on them. Don't miss it.
A Bridge Too Far ** 1977
An attempt to do another _The_Longest_Day_, but a failure. A Movie Too
Long begging to be edited. Some sloppy acting, and a script that obfuscates
rather than clarifies this complex WW2 Allied airborne assault. Many
excellent combat scenes, but overall this movie sinks into the Dutch marshes.
The Burmese Harp (a/k/a _Harp_of_Burma_) *** 1956
A refreshing and unusual subject: Japanese infantry in WW2. This fine
Japanese film takes us inside the head of a soldier, with a good feel for the
frightful losses suffered by the Japanese. Some rather dull sequences.
The Caine Mutiny **** 1954
While more a courtroom drama than a war movie, this film impacts us
with one of the finest characterizations ever filmed. Bogart has never been
better as the WW2 U.S. destroyer captain gone berserk. A great supporting cast
makes this battle of wits a must-see that raises important military issues.
Virtually flawless--adapted from the excellent Herman Wouk novel.
Casablanca **** 1942
Not a "war movie," but this classic would have been nothing without the
energy, fear, and despair of its WW2 intrigue setting. Handles the Free
France vs. Vichy France debacle with style, grace, and inspiration. About as
close to a perfect movie as you can get. The best movie ever made? Could be.
Catch-22 *** 1970
Yet another movie with superb flying sequences that fails when on the
ground. Even more important, how did one of this century's finest novels get
transformed into a boring, ponderous story? The characters have lots of
potential that never goes anywhere, and the script is hopelessly muddled. Like
so many other attempts, this look at the bizarreness of war falls flat. Yet
this film somehow manages to entertain, but just barely. The scenes that
include B-25s are some of the most memorable ever filmed, and are a must for
WW2 airplane buffs. Otherwise, if you miss this film, don't worry about it.
The Charge of the Light Brigade **1/2 1936
Errol Flynn lends some real excitement to this badly cliched adventure
film. Unfortunately, this military tragedy is reduced to pure fiction.
The Charge of the Light Brigade **1/2 1969
Another major disappointment. It's true that the story of this Crimean
War battle is told with flawless accuracy; it's one of the most historically
accurate accounts ever filmed. But somehow this movie fails to move us. Its
atmosphere seems to lack the fire needed to get us involved in this tragedy.
An outstanding opening sequence, with animated political cartoons.
Cheyenne Autumn *** 1964
John Ford's final Western, and an attempt to portray things from the
Indians' point of view. A great idea, with some excellent sequences, but
ultimately not as good as it should have been. Too long and choppy. Has more
of a "war movie" feel than most Westerns, and therefore seems more realistic.
Cockleshell Heroes **1/2 1956
Not particularly exciting, but this true story of WW2 British
canoe-borne saboteurs has an unusual enough subject to keep up the interest.
Come and See ***1/2 1983
The most emotional war movie I've ever seen. A subtitled Byelorussian
film that will leave you exhausted and trembling. A Byelorussian teen joins
the Soviet partisans to fight the Nazi invaders, and finds out that war is no
fun. Surprisingly, does not adopt an apologetic tone towards the Soviets, and
views Germans (some of them, anyway) as human beings. A touch propagandistic,
but not nearly as bad as some Hollywood WW2 stuff. Very little blood or
violence; powerful camera work and editing achieve an unbearable feeling of
terror. REAL machine gun rounds--not blanks--were used in at least one scene.
Uses sounds and noises more innovatively and creatively than most films.
Coming Home *** 1978
This film, while quite good, has not aged well. The political
preachiness now seems more irritating than enlightening, and the characters
seem less real than they did when this film was first released. Probably a
product of the times. Still, worth a look for some good performances in a
subject that is often overlooked by battlefield-oriented Viet Nam films. The
"Home Front" of the Viet Nam War needs to be further explored.
Cross of Iron *** 1977
A noble attempt that didn't quite succeed. The WW2 Russian front was
so vast and so decisive that many historians consider it the only really
critical part of the war. Yet it has been virtually ignored by Hollywood.
This film attempts to redress that, and does a good--not great--job. There
are too many standard Peckinpah slo-mo death ballets, and the whole film seems
to stumble along from scene to scene. Still, it's so refreshing to see a
Russian front film that one can almost overlook the flaws; there ARE some
excellent scenes. How about a Stalingrad or Kursk film, Hollywood?
The Cross of Lorraine *** 1943
Good anti-Nazi propaganda, as French POWs escape to fight the hated
occupiers. A little corny, but has a good feel for 1940s patriotism.
The Cruel Sea *** 1953
One of the better Royal Navy in WW2 films. No major flaws, but not a
particularly great film, either. Too detached from its subject to inspire us.
Darby's Rangers *1/2 1958
The usual Hollywood WW2 junk. Nothing of any real interest.
Das Boot (English title _The_Boat_) **** 1981
The best submarine film ever made, and one of the best war films of all
time. The best picture yet of what it was really like on a sub. A gritty
sense of despair and claustrophobia, with some of the most awesome camera work
ever conceived. Outstanding and inspiring special effects. Never have the
Germans in WW2 been portrayed better. This film sets a standard against
which future war films should be measured. A masterstroke of craftsmanship in
direction, acting, and scripting. Nicely adapted from an excellent novel.
The Dawn Patrol ***1/2 1938
One of the best films about WW1 pilots. Conveys a terrific sense of
adventure, with a never-equaled feel for actually being in the air. Energetic
characterizations and great flying scenes. Although a bit too dated in its
view of the "glory" of war, this film manages to remind us that war is no fun.
The Day After *** 1983
Not as good as it could have been, but still worthwhile. A made-for-TV
movie that nearly equals big screen standards. Shocking and terrifying, but
at the same time somehow too laid back. Raised the national consciousness
about the effects of nuclear war. _Testament_ works a little better.
Death Race ** 1973
A neat idea that didn't quite work. Two Americans in a crippled
plane that can taxi but not fly confront a lone German tank in the middle of
the desert in WW2. Unique TV movie, but runs out of gas very quickly.
The Deer Hunter ***1/2 1978
The best job Hollywood has ever done with raw human emotion in war.
Not really a Viet Nam film; more like a gut-wrenching psychological tour of
Hell. Second only to _Come_and_See_ in emotional impact. Incredibly stirring;
I can't watch this film without crying. Way too long--needs editing badly.
Destination Gobi **1/2 1953
The US Navy goes to the desert, as American sailors help the natives
fight the Japanese in WW2. Nothing great, but unusual and offbeat.
Destination Tokyo *** 1943
Another submarine movie, but a little above par. Realistic characters
keep this WW2 film moving. Lots of fun to watch, if a little inaccurate.
The Devil's Brigade *1/2 1968
More WW2 crud from the "bad boys at war" school. Forgettable.
The Diary of Anne Frank *** 1959
Good movie version of the famous play about a Jewish family hiding from
the Nazis. Inconsistent acting fails to make a memorable impact.
The Dirty Dozen **1/2 1967
Still more crud about WW2 bad boys. Some good characterizations,
though, with a well-written plot. Too much Hollywood yah-hoo; pure fantasy.
Doctor Zhivago **1/2 1965
Muddled mess about people caught up in the Russian Civil War manages to
impress in spite of itself, mostly due to breathtaking photography and sweeping
musical score. Confusing script, indifferent acting and irritating atmosphere.
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb **** 1964
A near-perfect movie; possibly Kubrick's best. Not a traditional war
film, but who cares? Some of the best writing, directing, and acting ever
seen. A careful and brilliant study of human strengths and weaknesses. It's
easy to forget that this is also a hilarious comedy about nuclear war.
Duck Soup **** 1933
The Marx Brothers are at their finest in this riotous satire of
international politics and war. Comedy simply can't be done better. It's
even funnier if you imagine the feuding factions as Reagan and Khadaffi.
The Duellists ***1/2 1977
An amazing film that deserves much more attention. Two officers in
Napoleon's army develop an intense hatred for each other which consumes their
lives. Unforgettable atmosphere, with beautiful photography and a
brilliantly-written script that includes a thoughtful surprise ending.
The Eagle Has Landed *** 1977
Lots of failed potential. Starts off with an intriguing premise--a
Nazi attempt to kidnap Churchill--and a well-filmed, gripping performance from
Michael Caine as the leader of the German hit team. Unfortunately, the rest
seems tacked on, degenerating into a standard Hollywood shoot-em-up with
nuclear hand grenades and 1000-round submachine guns. Exciting at times.
The Enemy Below ***1/2 1957
Not far behind _Das_Boot_ as a submarine tale, but lacks the emotional
wallop. One of the best standard Hollywood war films. This movie keeps a
unique perspective by concentrating on a one-on-one WW2 duel between a U.S.
destroyer and a German sub. By avoiding "blockbuster" tendencies, this film
is a major success. More war movies like this one should be made.
Escape From Sobibor *** 1987
Solid factual TV movie about the mass break-out of inmates from the
Nazis' Sobibor death camp. Good characters and a realistic atmosphere.
The Execution of Private Slovik ***1/2 1974
True story of a US soldier's execution for his desertion in WW2.
Extremely well done TV movie, but a bit too slick; compares poorly with
_Paths_of_Glory_. Raises controversial issues that still need discussion.
Exodus *** 1960
Grotesquely overlong epic of the Israeli War for Independence. Sloppy
acting fails to catch fire, but there's still enough action to keep things
moving. Awesome cinematography and an outstanding musical score.
Fail-Safe *** 1964
Not bad as a nuclear war drama, but it can't hold a candle to
_Dr._Strangelove_. A well-done story that isn't as emotional as it could have
been. Seems a little dated, although the filmmakers' sincerity shines through.
The Fighting Seabees **1/2 1944
Standard Hollywood WW2 Pacific propaganda. This film would have been
unbearable nonsense, but John Wayne's energy pulls it out of the doldrums.
Flame Over India (a/k/a _North_West_Frontier_) *** 1959
Good action film of British caught up in turmoil of colonial India.
Many exciting and hair-raising scenes that stand up to anything made today.
Fort Apache *** 1948
A typical John Ford/John Wayne epic, as the US Cavalry battles Indians.
As usual, filmed with meticulous care and loaded with fascinating scenes.
For Whom the Bell Tolls *** 1943
A reasonably good film that doesn't quite do justice to its parent
novel. Well done, but perhaps Hemingway doesn't translate well to film. A
truly memorable film dealing with the Spanish Civil War has yet to be made.
From Here to Eternity **** 1953
One of the all-time greats. Not really a war film, but the dialogue
is some of the best I've ever seen in ANY movie. And this is one case where
great literature DID translate beautifully to film. If you've never seen
this, you've missed Hollywood at its finest. A milestone in American cinema,
with a beautiful portrayal of the US Army in Hawaii just before Pearl Harbor.
Full Metal Jacket *** 1987
I'm still not sure what I think of this Viet Nam tale. Some
excellent scenes, but does it all condense into a coherent whole? Perhaps not
up to the usual Kubrick standards. The set decoration for the Hue scene is
awe-inspiring, and creates one of the most realistic battlefields ever filmed.
Gallipoli ***1/2 1981
A beautifully made, haunting WW1 infantry film. Avoids most war movie
cliches, despite the routine subject matter. Excellent acting and script;
maintains a good feel for its realistic characters. Great camera work.
The General **** 1927
Buster Keaton's classic Civil War silent still astounds even the most
modern audiences. Mind-boggling action sequences, including a spectacular
train wreck, all filmed before anybody ever heard of special effects. And a
powerful, tender, and moving story to boot. This film is far superior to
many movies made 60 years later. You can't miss with this one.
Gone With the Wind **** 1939
This timeless classic is more of a war film than generally realized.
The "Gettysburg aftermath" scenes are some of the most powerful ever filmed.
This flawless character study of real people in real situations is one of
history's greatest movies. You haven't lived until you've seen it.
Good Morning Vietnam *** 1988
Robin Williams does a good job as a trouble-making Saigon disc jockey
in this enjoyable semi-comedy. Covers too much ground and is sometimes trite.
The Great Escape ***1/2 1963
A movie that's greater than the sum of its parts. Basically a standard
WW2 prison escape movie, but so well done that it transcends the genre.
Exciting, well-paced, and lovingly directed, with realistic and diverse acting.
The Green Berets * 1968
Possibly the worst war movie ever made. Definitely Wayne's worst film
of ANY type. So inaccurate it's painful; if I were a Green Beret I'd sue.
This movie will teach you more about basket weaving than about Viet Nam.
Guadalcanal Diary *** 1943
Thanks to a powerful script and excellent acting, this movie rises
above the standard Hollywood WW2 propaganda it is so much a part of.
Semi-documentary style sets an unusual tone that helps transcend inaccuracies.
Gunga Din ***1/2 1939
Lots of exciting adventure in this typical British-in-colonial-India
yarn. The characters and situations are dreadfully stereotyped and woefully
inaccurate, and war is glorified in typical Hollywood fashion. But none of
that really matters. This movie is just too much FUN. Keep tongue in cheek.
The Guns of Navarone *** 1961
The standard raid-the-Nazis film, loaded with cliches. But Gregory
Peck's explosive performance raises the stakes. Peck takes this otherwise
mediocre film by the throat and wrings out an amazing amount of excitement.
Hair *** 1979
A somewhat disappointing film that's still worth a look. Terrific
musical numbers that convey well the anti-war feelings of the 1960s.
Unfortunately, the non-musical segments often seem silly and contrived.
Don't miss the powerful final scene of the troops loading up for Viet Nam.
The Hallelujah Trail *** 1965
An unusually-made comedy about the US Cavalry in the old West. Not
bad, but depends mostly on its unique narration and on-screen maps for fun,
rather than on any particularly funny scenes. Way too long and rambling.
Halls of Montezuma **1/2 1950
Yet another US Marines in WW2 tale. A couple of good scenes.
Heaven Knows, Mr. Allison *** 1957
A charming and well-made film about folk trapped on a Japanese-occupied
WW2 island. Not great, but worth watching for the excellent characterizations.
Hell and High Water ** 1954
A below-average Cold War submarine film. Some good photography.
Hellcats of the Navy ** 1957
Uncle Ronnie and Aunt Nancy get it on in this WW2 submarine tale.
Nothing new here, but considering the cast it could have been much worse.
Hell is for Heroes **1/2 1962
Another cliche-ridden WW2 infantry film that rises above itself.
Mostly average or worse, but the climactic battle sequence is filled with
astonishing energy and violence. Inaccurate, but will leave you drained.
Heroes of Telemark ** 1965
_Cliches_of_Telemark_ would be a better title, as commandos blow up
yet another Nazi factory. Some great photography of Norway, however.
Hitler's S.S.: Portrait of Evil **1/2 1985
A TV movie that drags on and on. Some good characters help a handful
of well-written scenes. This fascinating subject deserves a better film.
Hope and Glory *** 1987
_Mrs._Miniver_ for kids. Children growing up in England during the
Blitz find that for them, war is exciting and fun. A little different and
disconcerting, but there's no denying the underlying truth. Well done, with
good characters, a snappy script, and pleasing photography.
The Horse Soldiers *** 1959
A little better than most Civil War movies, this John Ford/John Wayne
film is a lot of fun. Not quite up to the usual Ford blockbuster standards.
Good characters and good action scenes, with pleasing photography.
How I Won the War *** 1967
A truly different film. John Lennon as a bewildered WW2 British
infantryman? A bit too bizarre in spots, but still does an excellent job of
telling its story. This movie has a couple of outstanding combat scenes that
are as good as they get; "tank shock" has never been portrayed more accurately.
Ice Station Zebra *** 1968
Spectacular cinematography and musical score, combined with
edge-of-your-seat script, fails to congeal into the blockbuster it should have
been. Wooden performances predominate as U.S. nuclear sub crew battles Soviet
paratroopers on the polar ice cap. No women in this Howard Hughes favorite!
Indiana Jones and the Last Crusade *** 1989
The same idea as _Raiders_of_the_Lost_Ark_, with Harrison Ford still
fighting evil Nazis. Plenty of fun, but somehow the magic of _Raiders_ does not
show up here. Tries too hard to spoof itself, and is sometimes too silly.
In Harm's Way ** 1965
Long, boring, and badly inaccurate. John Wayne and Patricia Neal
help this WW2 naval tale, but not much. Sorry, folks, but if a Japanese
18.1" shell hit a US PT boat, you'd be lucky if there was a toothpick left.
Invasion, U.S.A. *1/2 1952
Laughable propaganda as the Commies hit our beaches. Worse than most
bad 1950s science fiction, with awful acting and script. Well worth watching
for laughs; don't miss the Red bomber crashing into the Empire State Building.
Is Paris Burning? **1/2 1966
Also long and boring. Could have been a great film classic about the
Nazi plans to burn WW2 Paris, but the molasses-like script drags everything
down. Still, _Is_Paris_Boring?_ has some extremely well-done combat scenes;
worth watching once. Don't miss the Free French Sherman tank grinding up the
German anti-tank gun, or the maniacal German survivor of the Molotoved truck.
Italiano Brava Gente (a/k/a _Attack_and_Retreat_) **1/2 1965
Hollywood will never be interested, but considerable numbers of
Italian troops fought on the Russian Front in WW2. This Italian film attempts
to tell the tale and does a fairly respectable job. Choppy and confusing, but
the lack of previous material on this subject makes this film fascinating.
Johnny Got His Gun ** 1971
A film with a terrific idea, but nothing else. When an artillery shell
lands near a WW1 soldier, he is made deaf, dumb, and blind, and loses both
arms and legs--yet is otherwise healthy. Unfortunately, this movie goes
nowhere with this intriguing idea, and the film becomes stilted and trite.
The Keep *1/2 1983
Watch the first 15 minutes and then go do something useful. Nazi
soldiers hole up in a Romanian castle and are attacked by demons, but the real
demons are the people who put together this unintelligible gibberish. The
movie's beginning includes some great shots of accurate German war equipment.
Kelly's Heroes ** 1970
Hippies fight WW2, in a confused film that doesn't know if it wants
to be a comedy or a war drama. Very dated. Interesting characters that
ultimately don't ring true. A handful of excellent (and accurate) scenes.
Kent State ***1/2 1981
Yes, this IS a war film. The "battle" of Kent State was just as
important to the Viet Nam War as was any "real" battle. An extremely well done
TV movie that tells its story with gripping authenticity. Excellent script.
The Key *** 1958
Doomed British ship captains in WW2 get the key to Sophia Loren's
bedroom. Not as dumb as it sounds, but way too long and muddled. Some good
combat scenes as under-armed British boats get blasted by German raiders.
Khartoum ** 1966
A failed attempt at a "spectacular", as Arabs take Khartoum from the
British in 1885. Has the feel of a blockbuster that ran out of money. The
characterizations are good, but their context fails to ignite any real feeling.
The Killing Fields **** 1984
One of the greatest films of recent years. A flawless example of
storytelling, with realistic characters we care about. Some of the most
realistic combat scenes ever filmed. Frighteningly intense and brutal. The
tragedy of 1970s Cambodia is brilliantly portrayed through fascinating people.
Lawrence of Arabia ***1/2 1962 (restored version released 1989)
A gargantuan masterpiece; it's safe to say that more energy and effort
went into this film than any other war movie. It would be impossible to make
a film of this scale today. Peter O'Toole is strange but fascinating as the
British adventurer who becomes an Arab leader during WW1. Unequaled scenery,
battle scenes, and music, with a commendable attempt at portraying an often
misunderstood part of the world. The original 1962 version is badly edited,
which drained out much energy and made the film difficult to follow.
The Legend of Walks Far Woman *** 1982
Nonsensical editing drags down this TV saga of American Indians
fighting to survive. Good script work; fascinating photography and acting.
The Life and Times of Rosie the Riveter (a/k/a Rosie the Riveter) *** 1980
Solid documentary about women in US war plants during WW2. Conveys
well the societal changes of the 1940s. Gets a little distracted at times.
Little Big Man ***1/2 1970
An outstanding storytelling achievement, as Dustin Hoffman portrays an
ultra-colorful character from the old West . Not many "war" scenes, except
for an awe-inspiring but overly bizarre Little Big Horn. Considerable
inaccuracies, but with such a moving script and characterizations, who cares?
The Longest Day **** 1962
Why is this film so great? It shouldn't be. It's appallingly long,
covers too much ground, is overly patriotic, and has more cameos than a
Hollywood cast party. Still, an awesome blockbuster that succeeds in every
department. Perhaps it's because it never loses sight of one of the most
important rules of filmmaking: TELL THE STORY. The grandeur and sweep of this
WW2 D-Day film obliterates its weaknesses. Terrific scenes, such as the
British glider assault on the Orne River bridges, the US paratroop assault on
Ste. Mere Eglise, and the French commando attack on the Ouesterham casino.
Lost Command ***1/2 1966
An overlooked, unusual film with a unique subject. Anthony Quinn does
a terrific job as a French paratrooper fighting in Viet Nam and Algeria. His
portrayal of an up-through-the-ranks officer and his military career has never
been done better. Excellent combat scenes that avoid standard movie cliches.
M*A*S*H ***1/2 1970
I feel this film is somewhat overrated, but it's still an excellent
black comedy about Korean War medics. Lots of profound Viet Nam analogies.
Seems a little tame today, and the plot line drags badly at times. Still, an
innovative script and terrific characters combine to make a brilliant
statement. This film was badly needed in 1970, and it succeeded in its task.
The McKenzie Break *** 1970
Germans held captive in Scotland during WW2 plot escape from their POW
camp. Despite the switcheroo in who's prisoner of whom, this is just a little
too much like every other POW escape movie. Not bad; worth watching once.
Memorial Day *** 1983
A not-bad TV movie about the stresses faced by Viet Nam vets many years
after their return home. Outstanding acting helps a somewhat shallow script.
The Men (a/k/a _Battle_Stripe_) ***1/2 1950
An unusual look at the other side of war--wounded men in a hospital.
Great acting and dialog make the US WW2 characters come alive. Conveys well
the despair and anger of being forgotten by the society you've defended.
Men in War ** 1957
The usual, this time in Korea. Some interesting combat scenes.
Midway ** 1976
A failed attempt to repeat the blazing success of _Tora!_Tora!_Tora!_.
Cliches sprout like fungus as the cast drowns in soap opera bubbles. Oddly,
does an excellent--and extremely accurate--job of explaining this complex and
decisive WW2 naval battle. Unfortunately, the filmmakers felt that wasn't
enough, and added enough subplots to float a carrier. Major annoyances:
freely borrows footage from other war films; distracting "Sensurround" gimmick.
Mission to Moscow ** 1943
Overrated propaganda portrays the USSR's entry into WW2 from the
point of view of the US ambassador. Unique period piece, but too long, too
talky, and goes way overboard in its praise of the Soviet Union.
Mister Roberts ***1/2 1955
Almost as hilarious a "war comedy" as _Dr._Strangelove_, as nutty crew
of US WW2 cargo ship looks for combat. A standard Hollywood character comedy
where everything works perfectly. The main characters are brilliantly done
and unforgettable. Snappy, witty dialogue and uproarious situations.
Mrs. Miniver *** 1942
Tasteful, subtle, and well-done propaganda. This story of a British
family's trials during WW2 was done primarily for the purpose of building
American support for Britain. It worked. Engaging characters caught up in
realistic situations, although a little too rational and Americanized.
Murphy's War *** 1971
A well-crafted little film that carves a niche for itself. A survivor
of a torpedoed ship decides to get revenge on the U-boat that did it.
Unique and beautifully done action sequences. A "war within a war" that
raises some interesting, and disturbing, issues. Drags, but a good atmosphere.
The Mysterians **1/2 1959
Aliens fight a war against Earth. You've seen it all before, but this
one's done a little better than most, with a spiffy script and good effects.
Nicholas and Alexandra **1/2 1971
Boring account of the Russian Revolution and monarchy trapped in it.
Goes on and on and on, but the acting is above par and adds some excitement.
Night of the Generals ** 1967
A WW2 murder mystery, but not a very good one. Sloppy writing and
acting. A handful of good scenes, but feels like it was just thrown together.
1941 **1/2 1979
Dumb comedy about panic in California following Pearl Harbor. Does a
good job of conveying the anti-Japanese hysteria of the time, with some fun
performances. Too long, with too much emphasis on explosive special effects.
No Man is an Island **1/2 1962
Another story of people trapped on a Japanese-held island. Takes a
more serious tone than _Heaven_Knows,_Mr._Allison,_ but doesn't work as well.
The North Star **1/2 1943
One of Hollywood's few attempts to deal with the WW2 Russian front,
this propagandistic film portrayed Soviets as the good guys. Interesting
characters and eerie battle scenes, but lackluster pacing leads to frequent
yawning. After the war, this film was edited (very poorly) so as to make the
Soviets look bad, and was re-released under the title _Armored_Attack_.
Objective, Burma! *** 1945
Loads of fun and excitement, as Errol Flynn leads US paratroopers
behind Japanese lines. Too much propaganda, but photography is excellent.
Banned in Britain, as it portrays the USA winning the Burmese campaign alone.
On the Beach ***1/2 1959
One of the greatest "after WW3" films. A bit too long, but a
gripping plot line holds up the interest. Realistic characters and excellent
acting make this film seem frighteningly possible. Low-keyed but effective.
Operation Crossbow (a/k/a The Great Spy Mission) *** 1965
A good ol' Hollywood shoot-em-up, done better than most, as commandos
raid Nazi rocket installations. A well-paced script keeps things moving, with
an interesting blend of history and fiction that creates an engrossing story.
Unusual sets and great photography; good acting; edge-of-your-seat climax.
Operation Petticoat *** 1959
A little too silly to be a classic comedy, but quite funny anyway. A
US WW2 submarine crew struggles to get their boat back in service, and most
of the gags work well. Contrived in spots, but well-directed and -acted.
Passage to Marseilles *** 1944
Humphrey Bogart leads French prisoners as they return to their
homeland to help fight WW2. Lots of action along the way, with unusual
scenes of some of the more obscure pieces of the war. Unfortunately, this
movie's weak script drags it down to little more than a notable curiosity.
The Password is Courage **1/2 1963
Not much more than the usual WW2 escape-from-the-POW-camp story. No
big flaws, but there's nothing too special here to make this film memorable.
Paths of Glory **** 1957
Another timeless Kubrick masterpiece. One of the finest war films of
any type, even though it is also a gripping courtroom drama. French soldiers
in WW1 are put on trial for refusing to charge to their deaths. Sparkling
characterizations and a moving script. Excellent combat scenes that are in some
ways among the most harrowing and accurate ever filmed. Brilliantly directed;
displays a unique feel for the complexities and evils of warfare.
Patton ***1/2 1970
An overrated film that gets more praise than it deserves. Still, one
of the finest character studies that Hollywood has ever produced, as George C.
Scott delivers the performance of a lifetime. Should be thought of as a
dazzling film characterization rather than as an accurate WW2 history lesson.
Platoon **** 1986
The best "standard" Viet Nam war film yet, and one of the best war films
to ever come out of Hollywood. Covers an astonishing amount of ground; mentions
nearly every important Viet Nam issue. Depicts well the soldier's frustration
that what he's doing is meaningless. The battle scenes are more realistic
than audiences have a right to expect; conveys the "confusion and chaos" factor
of battle about as well as has ever been done. An emotional masterpiece.
Pork Chop Hill *** 1959
A standard Korean war film that's a little better than most. A clear
script keeps the ebb and flow of battle interesting. Has an offbeat atmosphere
that lends a unique feel to the fascinating battle scenes.
Potemkin (a/k/a Battleship Potemkin) **** 1925
Sure, it's propaganda, but this film tells its story like no other.
Gut-wrenching scenes and an emotional script blast the viewers out of their
seats. This powerful but carefully crafted study of the causes of the Russian
Revolution is the textbook on how to move your audience. Never equaled.
Pride of the Marines **** 1945
Don't let the title fool you; this is a superior movie in every respect.
An "average guy" joins the Marines after Pearl Harbor and is blinded on
Guadalcanal. The well-acted characters in his life drive this true story, an
unforgettable study of human emotions and actions. This movie never lets up;
among the unexpected bonuses are a fascinating look at pre-war naivete and
post-war inequality in the USA. The brief combat segment includes a realistic
description of infantry tactics and weapons, never equaled in its accuracy.
Private Benjamin *** 1980
Goldie Hawn is perfect as an airhead who joins the modern US Army.
Not as silly as it seems, this is a fun comedy with a lot of heart and soul.
The Purple Plain *** 1955
Strange film about a disturbed British WW2 pilot who crash-lands in
the wilds of Burma. Surreal atmosphere is weird but very fascinating.
Radio Days *** 1987
Fine Woody Allen comedy about childhood in the USA during the war
years. Not an outstanding film, but contains many exquisite details of the
period, lending an authentic atmosphere. Good companion to _Hope_and_Glory_.
Raiders of the Lost Ark ***1/2 1981
Can be considered a war film, as the adversaries are wonderfully
stereotyped Nazis, portrayed to a new height of evil and sinisterness.
Harrison Ford plays an energetic archeologist on a worldwide quest, fighting
the bad guys all the way. Perfectly paced entertainment that never lets up,
with outstanding set decoration and special effects (such as the bizarre
flying wing airplane). Some blatant historical impossibilities, but so what?
The energy level of this film can't be measured with normal superlatives.
The Red Badge of Courage **** 1951
One of the finest, yet often overlooked. A great transfer of literature
to film, particularly in capturing the feel of youth trapped in war. As a
standard war film, the best American Civil War movie ever made. Unique and
accurate battle scenes, with a surreal strangeness to them that lends a
frightening atmosphere. Provides an exceptional "you are there" feeling.
Red Dawn *1/2 1985
Do you enjoy having propaganda rammed down your throat every three
minutes? If so, watch _Red_Yawn_. The story goes nowhere and the characters
are forgettable as the USSR invades the USA in the midst of constant, blatant
preaching. The extremely cliched and inaccurate battle scenes spoil the
excellent set decoration and cinematography. A great deal of the Soviet
equipment shown is either real (vehicles) or convincing mock-ups (aircraft).
Run Silent, Run Deep **1/2 1958
Yet another WW2 sub movie, but not too bad. Good characters show a
lot of fascinating interaction. A rather dull and unmoving story line.
The Russians Are Coming! The Russians Are Coming! *** 1966
Soviet submarine runs aground on US coast; locals panic; lots of
silliness. Quite a few genuine laughs, good characters, and some messages.
Unfortunately, this film tries way too hard and leaves the viewer feeling used.
The Saboteur, Code Name Morituri (a/k/a Morituri) *** 1965
A WW2 German freighter struggles alone on the high seas, trying to get
its precious cargo home. This unusual subject matter alone helps to save this
film, which is otherwise a little dull. A handful of very well-written scenes.
The Sand Pebbles *** 1966
A well-made film that covers an ignored subject: US naval forces in
pre-WW2 China. This could have been another failed blockbuster, but things
were kept in perspective and the result is enjoyable and moving. Exquisite
characters and sets; unfortunately, too long and ponderous for its own good.
Sands of Iwo Jima *** 1949
The ultimate John Wayne war film. Dragged down by glory and cliches,
but lifted up again by Wayne's unforgettable performance as an ultra-tough
sergeant in WW2. A classic example of an above-average Hollywood war film.
Sergeant York *** 1941
A fascinating character study, very well told. An outstanding job by
Gary Cooper depicting "the reluctant warrior", an infantryman in WW1. Avoids
cliches, but this film drags as it often goes into far too much detail.
Seven Days in May ***1/2 1964
An outstanding study of what happens when the military goes berserk. A
terrific cast battles it out as the Pentagon tries to take over the U.S.
government in this near-science fiction drama. Unbearable suspense at times,
thanks to a superb script that makes you wonder if it could really happen.
Shadow on the Land **1/2 1968
Poor man's _Seven_Days_in_May_. TV movie's ho-hum script is hard to
follow, although everybody tries hard. Unique and interesting battle scenes.
Shame ***1/2 1968
A little-known Bergman film that adds a dose of science fiction to the
old story of civilians trying to avoid war. A devastating civil war breaks
out in Sweden, and there is nowhere for the innocents to hide. From the
opening jet dogfight to small infantry skirmishes, the combat is short, sharp,
frighteningly intense, and always seen from the point of view of the civilians
trying to keep away from it. Unfortunately, this film is way too long, drags
like molasses, and fails to give good identities to its characters. However,
the final scenes will blast through your brain like a 7.62 mm bullet.
Shenandoah *** 1965
Another film of civilians trying to keep out of a war, this time the
American Civil War. Not really an emotional powerhouse, but still quite good.
A bit preachy, but snappy dialogue and interesting characters shine through.
She Wore A Yellow Ribbon *** 1949
Ford directs Wayne, the cavalry battles the Indians, and it all fits
together beautifully in this typical western. Despite the awesome talent,
photography, and pacing, the script delivers a few too many cliches.
Shoah ***1/2 1985
A nine-hour marathon than gets better with each minute. Shocking
interviews with dozens of witnesses to the WW2 slaughter of the Jews make this
a superior documentary. Highly disturbing study of the evil within us all.
Sink the Bismarck! *** 1960
This movie about the WW2 hunt for the dreaded German battleship is one
of the better films of its type, thanks to an exciting and smoothly flowing
plot line. There is some irritating fiction, but overall the story of this
fascinating naval engagement is told with reasonable accuracy.
633 Squadron **1/2 1964
Another film with exciting flying sequences that crashes when on the
ground. The British plan a big WW2 bombing raid against the Germans, but
it's tough to keep awake until the planes take off. However, the aerial
combat is more exciting and climactic than in most flying movies.
Slaughterhouse Five **1/2 1972
Kurt Vonnegut's landmark novel is reduced to mediocrity through a
muddled script, lackluster directing, and forgettable characters, as WW2 and
many other events are seen through the eyes of a wimp. Worth watching once,
but this film is an astonishing waste of Vonnegut's memorable masterpiece.
Soldier Girls ***1/2 1981
Beautifully done documentary about US Army boot camp for female
soldiers. "Fly on the wall" approach adds to authenticity. Plenty of
fascinating interaction between recruits and instructors, with lots of impact.
The Sorrow and the Pity ***1/2 1970
This is the right way to make a documentary. Sure, it's way too long
and there are just too many interviews. But you'll learn more amazing
things about WW2 than you ever imagined, and be entertained at the
same time. The entire saga of France at war is handled with meticulous care.
Lots of fascinating (and real) people tell their stories, and it all works.
The Sound of Music *** 1965
Pull on your hip boots and get ready to wade through the creamed corn,
but this musical succeeds in spite of itself. Hardly a traditional war movie,
but this simplistic story of the Trapp family's escape from the Nazis is
reasonably well done. Just sit back, quit groaning, and enjoy the music.
South Pacific **1/2 1958
Although this musical takes a more serious tone than _Sound_of_Music_,
it doesn't work as well. The characters on a WW2 Pacific island were supposed
to be fascinating, but it all falls flat. Terrific music, but half-dead actors
fail to get things rolling. The lead roles especially need a good jump-start.
Spartacus *** 1960
Stanley Kubrick denounced this film and does not consider it "his."
Still, it's not bad, with an exciting beginning and ending. Kubrick's
outstanding cinematography of the third Roman slave rebellion is a dazzling
delight. Much of the film's middle, however, is long and rambling. The
script is a plodding, heavy-handed treatment that adds confusion and subtacts
enjoyment. Kubrick never again worked on a film unless he had total control.
Special Bulletin *1/2 1983
Undoubtedly the worst film about nuclear holocaust, this vastly
overrated TV movie deals with terrorists nuking US cities. The phoniest TV
news people you'll ever see "report" the incidents. Cliche-ridden script.
Stalag 17 ***1/2 1953
An extremely enjoyable WW2 prison film, superior in some ways to
_The_Great_Escape_. Some of the most interesting characters to populate ANY
film maintain a constantly realistic feel. Superb acting, scripting, and
directing make this movie a viewing delight with every scene. Don't miss it.
Star Wars *** 1977
Lots of space battle scenes that were inspired by previous aerial
warfare movies. The lessons were learned well; this film trembles with action
and excitement. A good basic story and snappy direction ties it all together.
Unfortunately, a decade after its release this film seems a little corny.
The Story of G. I. Joe *** 1945
Pretty good film biography of legendary WW2 newspaperman Ernie Pyle.
Fine character work by entire cast, but the screenplay is a little flat.
Strategic Air Command ** 1955
With Jimmy Stewart at the controls of the awesome B-36, this movie
should have been a blockbuster. But this film seems to drone along like a
sleepy pelican. An uninspired, corny script keeps things from taking off.
The Sullivans (a/k/a The Fighting Sullivans) ***1/2 1944
This is it--the movie that had to be pulled from theaters due to
emotional audience reaction. In 1944, too many American families had lost
fathers and sons, and this film hit too close to home. The scene of the grim
news being delivered to the family is a classic--and many families had already
lived that scene in reality. This movie is an emotional yet solid story of
five brothers who died when their ship went down, and it has a sort of Norman
Rockwell feel. Can still bring tears to many eyes; should not be missed.
Testament ***1/2 1984
Another story of the aftermath of nuclear war--and this one may be the
best. The slow decay of society is chillingly portrayed, assisted by the use
of a single family's point of view. The pace is slogging, but that seems only
to add to the despair and tragedy. The scenes of the actual attack are more
terrifying than in most films, simply because you CAN'T tell what's going on.
They Were Expendable ***1/2 1945
John Wayne's most unusual and most realistic war film. Often
overlooked. Most war films offer a certain sense of "stability"; that is,
after the battle is over there's usually a safe place to retire to. In this
film, when the U.S. PT boats return to their base after each battle, they find
the base in flames or captured by the Japanese. The constant need to find one
new "home port" after another helps this film to make the audience feel
unstable and uncomfortable--probably something like real war. The "good guys"
get their butts kicked a lot too, and that makes things even more
discomforting. Add the bonus of a great Wayne performance and some incredibly
violent and dangerous-looking battle scenes. Don't miss this one.
Things to Come *** 1936
Weird science fiction set in a global war of the future. A little flat
and uninspired, but the story is unique. Unusual special effects are fun.
Thirty Seconds Over Tokyo ***1/2 1944
A breathtakingly well-done film with a few problems. The "detail work"
on this movie is as good as it gets, and you'll probably enjoy it more each
time you see it. This story of the WW2 Doolittle raid has some of the best
action sequences ever filmed, and the scenes of the raid itself are put
together with unmatched care and precision. Considering the difficulties in
assembling a fleet of B-25s and putting them through dangerous high-speed
low-altitude work, it's probably impossible to duplicate a film of this type
today. But this movie takes too long to get going, the script drags in spots,
and the romantic interludes are real yawners. Still, a timeless classic.
To Be or Not To Be ***1/2 1942
Jack Benny's finest hour, as he plays a Polish Shakespearian actor
using unique methods to resist and harass the Nazi occupiers. Despite the
unusual setting, this is one of the best portrayals ever of the patriotism and
limitless energy of Europeans squirming under the yoke of German occupation.
Tobruk *1/2 1967
Lots of shooting, yelling, and things blowing up. Not much else. The
story purports to be historical but is mostly unrealistic WW2 fiction.
To Have and Have Not **** 1944
This sizzling Bogart-Bacall love story is not a war film in the
traditional sense. But like so many others like it, the WW2 setting
supplies energy, fear, and passion that would have been otherwise impossible.
Like _Casablanca_, this highly romantic film takes a head-on view of the
long-forgotten but important and complex subject of French wartime politics.
Solidly acted, scripted, and filmed; a classic in every sense. Don't miss it.
To Hell and Back **1/2 1955
A reasonably good film that should have been better. Audie Murphy,
the USA's most decorated war hero, plays himself in this autobiographical WW2
infantry battle story. Murphy's real-life exploits were quite memorable, but
this film could have done a more exciting job in portraying them.
Top Gun *1/2 1986
This movie, essentially a two-hour recruiting film for the U.S. Navy,
is dangerous. _Top_Dung_ presents the idea that war is fun; recruiting
statistics show that many adolescent boys fell for it. Ludicrous plot line.
Extremely exciting--and extremely inaccurate--modern jet combat scenes.
Tora! Tora! Tora! ***1/2 1970
One of the most outstanding documentary-style war movies. A
meticulous description of the Pearl Harbor attack, told with extreme care and
accuracy. A joint Japan/USA production, this movie moves from event to event
with power and grace. Battle sequences of astonishing violence, realism, and
detail; often imitated but never equaled. As worthy as a good history book.
The Train **** 1965
My personal favorite for the best "standard" war movie ever made. Not
well known (a black & white movie in 1965!), this incredible movie has an
intense pace that never lets up. As the Allied armies advance on
German-occupied Paris, the Nazis loot the world's greatest paintings from
French museums and attempt to move a trainload of them to Germany. French
railroad workers, such as Burt Lancaster, try to stop the train. Although the
plot line covers an astonishing amount of ground, this film's excitement level
sets new standards. The most spectacular train wrecks ever filmed--using
REAL trains, not models. Lots of offbeat twists make this film a delight.
Triumph of the Will **1/2 1935
Amazingly powerful propaganda that shows how German citizens were
persuaded to join Hitler's philosophy. The 1934 Nazi rallies at Nuremburg are
filmed with a terrifying power and drive. But the repugnancy of the subject
matter and the repetitive parading and drum-beating drag this film down.
Twelve O'Clock High **** 1949
The best film ever made about leadership in war. Gregory Peck stars as
the new commander of a slipshod B-17 unit who is expected to turn the men into
an efficient fighting force. Peck equals his _Guns_of_Navarone_ performance,
blasting the screen apart with an outstanding characterization. The rest of
the film's cast equals his work, right down to the smallest bit players. The
script is nearly flawless, pulling the audience through the painful story with
care and style. Despite the topic, this film is touching, sentimental, and
concerned; it raises important issues that go beyond the basic story and even
beyond war itself. Impressive dialogue. Terrific photography with low-key but
effective battle scenes. Minor flaw: depicts Schweinfurt as an Allied victory.
Twilight's Last Gleaming *** 1977
Conspiracy theorists will love this one; Burt Lancaster threatens to
nuke the world unless the US government releases secret Viet Nam information.
Fun to watch, but seems rather dry. Watch for WW2 Nazi tanks in USAF markings!
Two Women ***1/2 1961
Outstanding character study of Italian civilians trying to keep away
from WW2 fighting. Sophia Loren has never been better. Some incredibly gritty
and realistic scenes, with a good feel for civilian vs. soldier confrontations.
The Ugly American *** 1963
Amazingly accurate prediction of what Viet Nam would turn out to be, as
Marlon Brando plays US ambassador to hypothetical Asian nation. Tough-minded
film has an earthy feel, but overall doesn't seem to have anything to say.
Under Fire ***1/2 1983
Warfare from a journalist's point of view. Nick Nolte plays a U.S.
photojournalist caught up in the turmoil of the Sandanista revolution in
Nicaragua. This surprising movie contains some of the most realistic and
frightening combat sequences you'll ever see, probably due to its newsreel
atmosphere. But there's much more here as well, with romance, politics, and
fascinating characters keeping up the pace in this otherwise too-long movie.
The Victors *** 1963
A WW2 infantry tale with an anti-war message. A little better than
average, but still lacks the impact of many newer films. Some interesting
photography, with a slam-bang ending that shows well the folly of war.
Viva Max! *** 1969
OK comedy about a rag-tag group of Mexican soldiers who recapture the
Alamo. Some good performances and photography, but this isn't any classic.
Von Ryan's Express ***1/2 1965
For some reason, war movies that use railroad trains as central themes
seem to be universally excellent. This is yet another example, and is one of
the best "action" war movies ever made. A brilliant script with lots of plot
twists and turns gives plenty of high-speed excitement. Frank Sinatra's
acting is a little weak as he portrays a U.S. pilot leading fellow WW2
prisoners in hijacking their own train. Although this is a great "beer &
pretzels" movie, it also touches on some relatively obscure themes. Beautiful
photography of the Italian countryside and the Alps, as well as lots of great
railroading scenes. A little too much Hollywood slickness at times.
The Wannsee Conference ***1/2 1984
Top Nazi officials held a meeting during the war where plans for
exterminating European Jewry were discussed. The minutes of this meeting were
used as the script for this film, in which the meeting is dramatized. Viewing
this movie will make your skin crawl, and it's made all the more effective
knowing that it's all real. Truth is indeed stranger than fiction.
War and Peace *** 1968
Another failed blockbuster that tries hard. The ultimate from the
"bigger is better" school, this Soviet film was the most expensive movie ever
made when it was released. Virtually all that money went into the stupendous
battle sequences, and it shows. This movie should be seen once just for the
sheer scope of the gargantuan battle scenes. But off the battlefield the film
just stumbles along, with forgettable acting and a poor screenplay adaptation
of Tolstoy's novel. Originally released at over seven hours, this movie is
now available in several different lengths. They're all too long. The 1956
version is even worse; although shorter, it fails to ignite any interest.
WarGames **1/2 1983
Another film about nuclear war, this time from the viewpoint of the
control room as teen-agers try to save the world. Gets annoyingly cute and
trite at times. The film's basic premises are laughably inaccurate. But the
pacing is often intense enough to keep up a good excitement level.
War Hunt *** 1962
A US infantryman in Korea loves to kill, and a correspondent discovers
that the man is not the hero the public thinks he is. Interesting but slow.
The War Lover *** 1962
A seriously flawed film that is still well worth watching. Steve
McQueen has never been better as a psychologically twisted B-17 pilot. This
movie unfortunately never provides any motivation for McQueen or any other
character. But McQueen's terrific performance combines with some of the best
B-17 airborne combat ever filmed, and it all ends up as quite enjoyable.
Unequaled scenes of horribly damaged airplanes struggling to get home.
A War of Children *** 1972
One of the most sincere and realistic TV war movies, this portrayal of
a family's trials in modern Northern Ireland is an engrossing tale of woe.
War of the Worlds ***1/2 1953
The best film yet about an alien invasion of Earth. Beautifully
produced and filmed, with crackerjack special effects. Intense script pacing
lends a terrifying atmosphere. Loads of neato early 1950s period detail.
Waterloo ** 1971
A very accurate historical account that doesn't work as a movie. If
you're a history buff you might like it; otherwise you'll find it tedious.
How could such an important event be told so correctly and so boringly?
Weekend at Dunkirk **1/2 1965
Four French soldiers are trapped by advancing Nazi forces in 1940.
Plot line is incomprehensible at times, but how many movies view French forces
in the fateful battles of the German invasion of France? Many unique scenes.
Welcome Home, Soldier Boys *** 1972
I was in the test audience for this film in 1972, and we gave it such
bad reviews that its release was shelved for a while. But when you consider
that it's one of the first Viet Nam movies, it's really not too bad. A group
of returning vets have trouble adjusting, and their pent-up emotions explode
into uncontrollable violence. Sometimes illogical, but makes a worthy attempt.
Where Eagles Dare *** 1969
Another good old-fashioned Hollywood shoot 'em up, with intense and
exciting pacing as Allied commandos raid still another German fortress. A lot
of fine scenes result from the outstanding photography. Unfortunately, the
technical errors are so blatant and so constant that there's never a relief
from the mistakes. Play "Spot the Impossibilities" with your friends!
The Wild Geese ** 1978
A basically unsuccessful attempt at a high-energy movie about modern
mercenaries. Sloppy acting helps to drag down a too-long script, although the
pacing is sometimes brisk. This movie has the most ridiculously exaggerated
infantry battles ever put on film--machine guns fire millions of rounds
non-stop without a jam, and hand grenades pack more punch than Mt. St. Helens.
The World, the Flesh, and the Devil *** 1959
Another futuristic film about global war survivors, this time in a
deserted New York City. Interesting location shooting. Some sloppy script
work, but a satisfying film with good performances and an eerie atmosphere.
World War III *1/2 1982
Silly TV movie about Soviet invasion of Alaska and subsequent nuclear
exchange. Acting is above par, but incredibly contrived situations make the
plot line laughable. Maddeningly inaccurate and ridiculous battle scenes.
Yanks ** 1979
A nice little film that's ultimately unsatisfying. This story of US
soldiers in England in WW2 could have been a fascinating look at the
conflict of two cultures. Instead, it goes for soap opera glitz, and ends up
as a forgettable and poorly done standard Hollywood star vehicle.
Yellow Submarine ***1/2 1968
The Beatles do battle with assorted cartoon meanies, accompanied by
fantastic animation and some of history's greatest music. Entertainment on
every level with non-stop fun all the way. Even the orchestral music is fine.
The Young Lions **1/2 1958
A look at WW2 from the point of view of both US and German infantry.
A neat idea with lots of good characters, but this movie just lies there like a
wet rag. Would somebody please tell me what the point of this film is?
Mike Trout
Zeppelin **1/2 1971
And yet another film with great flying sequences inserted into a
forgettable story! Soap opera characters and silly subplots predominate, but
this is just about the only film that even mentions the awesome German
airships of WW1. Special effects that are worthy of the gargantuan zeppelins.
Zulu ***1/2 1964
An amazing cinematographic achievement, with some of the best
photography ever to appear on screen. A handful of British infantry hold off
hordes of Zulus, and the excitement, drama, and tragedy of it all sweeps
viewers right out of their seats. Near-flawless scripting and acting, as well
as amazingly accurate battle scenes, add even more to this don't-miss-it film.
THREE SELECTED TELEVISION PROGRAMS
Combat!
One of television's most underrated programs of all time, _Combat!_
created real characters and placed them in real situations. The script work
was outstandingly innovative, giving this program a solid foundation that
allowed the actors and crew to create a unique tale each week. The US infantry
squad's WW2 adventures were portrayed with style and taste, while the frequent
use of cliches didn't seem to hurt the show. There were some poor episodes,
though, as the program started to run out of ideas after being on the air too
long. My favorite episode: Vic Morrow, alone and limping along on an injured
leg, confronts a German tank, also alone and limping along on a damaged track.
The Rat Patrol
In contrast to _Combat!_, this program seemed to delight in cliches and
repetitiveness. The stories were all basically the same, and one wondered how
the "Rats" always managed to blow up the same group of Germans week after week.
Most of the stuff history books discuss about WW2 in North Africa was ignored
by _The_Rat_Patrol_. Only a few characters developed into anything noteworthy.
Sometimes the set decoration was interesting, although badly inaccurate.
Victory at Sea
One of the great classic television programs, _Victory_at_Sea_ is still
an astounding viewing experience even today. Basically a set of black and
white newsreel and Pentagon film clips, taken from such dangerous places as
carrier decks, AA gun tubs, and airplane cockpits. The clips were edited
together into a brilliant series of episodes about the US Navy's global role in
WW2. Although they are now more than 40 years old, many of the film clips are
so unique and awesome that you can't help but keep your eyes glued to the
screen. A legendary music score by Richard Rogers stands as probably the finest
music ever written for television. My favorite clips are those of the crippled
planes staggering in to crash-land on aircraft carrier decks.
hag...@iuvax.cs.indiana.edu
>
>... only one out of four infantrymen ... fired a weapon ...
>
This datum (which I, incidently learned as an undergraduate Soc major)
is from research done by S.L.A. Marshall. This research has recently
come under attack as it appears that Marshall "made up" his data. This
was covered in depth in a recent issue of "American Heritage" (sorry,
can't remember the date but within the last 6 months).
paul hager hag...@iuvax.cs.indiana.edu
Blair P. Houghton
>THE TROUT GUIDE TO WAR MOVIES
>Copyright 1989 by Michael Trout
>The Young Lions **1/2 1958
> A look at WW2 from the point of view of both US and German infantry.
>A neat idea with lots of good characters, but this movie just lies there like a
>wet rag. Would somebody please tell me what the point of this film is?
Glad to. Brando's character's first name is "Christian," and
Montgomery Clift's is "Noah."
I think you can take it from there. It's not a simple allegory,
nor a pastiche of bible stories, and I think the 2.5 stars about
hits it.
--Blair
"I might add an extra star for
the woman who plays the captain's
wife. What was her name?"
Jeff Meyer
immensely, both as retrospectives, and as pointers to films to examine.
(The War Film Guide will be particularly useful for the latter purpose.)
One brief addition: the best (i.e. most frightening and horrifying) film
I've ever seen on nuclear war was WAR GAMES -- not the Matthew Broderick
version, but the one made by the BBC in the early sixties for TV, that was
so graphic it was never broadcast. Made to appear like a documentary, it
pulls no punches; I saw it in high school, and while I could never say that
I *enjoyed* seeing it, I'm glad that I did.
"I'd like to get some
expert opinion in here,
someone familiar with
vermin behaviour."
Lee Atwater is
summoned.
"A rat? Nooo problemo!
Let me talk to that ol'
boy."
"Great! I'll play good
cop!"
---
Moriarty, aka Jeff Meyer
INTERNET: mori...@tc.fluke.COM
Manual UUCP: {uw-beaver, sun, microsoft, hplsla, uiucuxc}!fluke!moriarty
CREDO: You gotta be Cruel to be Kind...
<*> DISCLAIMER: Do what you want with me, but leave my employers alone! <*>
John Locke
A few reckless rejoinders:
===============================================================================
>Apocalypse Now *1/2 1979
> Sorry, but I didn't like it. Several terrific scenes, but what does it
>all mean? A film should be more than just pretty pictures. Does not compare
>well with its parent short story, Conrad's _Heart_of_Darkness_. I'm from the
>old school of movie-viewing, which says that a film should either tell a story
>or have something to say. The ending is particularly ludicrous. One saving
>grace: does a good job of portraying the "Twilight Zone" weirdness of Viet Nam.
You haven't done your homework. Read Heart of Darkness again. See the movie
three more times. Pay particular attention to the ending. Don't sleep until
you've figured it out. It will be worth the effort.
Apocalypse Now ****
===============================================================================
>Fail-Safe *** 1964
> Not bad as a nuclear war drama, but it can't hold a candle to
>_Dr._Strangelove_. A well-done story that isn't as emotional as it could have
>been. Seems a little dated, although the filmmakers' sincerity shines through.
It's not fair to compare this film to Strangelove: Strangelove is a satire
and Fail Safe aims at realism. Both are excellent films. Strangelove is more
popular because it is politically hip. Fail Safe shows you an event and lets
you work out the politics on your own. Especially interesting is Walter
Matthau as a hawkish, but charming, professor modeled after Kissinger.
===============================================================================
>From Here to Eternity **** 1953
> One of the all-time greats. Not really a war film, but the dialogue
>is some of the best I've ever seen in ANY movie. And this is one case where
>great literature DID translate beautifully to film. If you've never seen
>this, you've missed Hollywood at its finest. A milestone in American cinema,
>with a beautiful portrayal of the US Army in Hawaii just before Pearl Harbor.
This is very entertaining, but hardly a milestone. "Hollywood at its finest"
is a good description. FHtE is a distillation of Hollywood kitsch. The
characters do nothing but butt heads with each other; every scene, every line
of dialogue is packed with conflict, big emotions, life and death. It works,
though, propelling the story forward at breakneck speed.
===============================================================================
>Full Metal Jacket *** 1987
> I'm still not sure what I think of this Viet Nam tale. Some
>excellent scenes, but does it all condense into a coherent whole?
There is a tradition in war movies of showing privates going through boot
camp together, becoming buddies, resenting the sergeant's hard-ass manner,
finally going into war to find out the sergeant was only doing what he must to
give them the tools to survive, etc. Sands of Iwo Jima is probably the most
representative of these although the formula was ground out hundreds of
times, with stars ranging from John Wayne to Laurel and Hardy. Full Metal
Jacket turns this formula upside down (what better war for doing so than
Vietnam?). What if a boot really believed all the bullshit he was fed in
camp? What if the enemy soldiers turned out to be women and children?
===============================================================================
>Lawrence of Arabia ***1/2 1962 (restored version released 1989)
>Peter O'Toole is strange but fascinating as the
>British adventurer who becomes an Arab leader during WW1.
A puzzling tale of a guy who dug killing people but was so well educated
he kept morality from getting in the way. He became, and remains, a hero
to many. On a similar wavelength is Colonel Kurtz in Apocalypse Now.
===============================================================================
>To Have and Have Not **** 1944
A rip-off of Casablanca. Bears little relationship to the Hemingway novel,
which wasn't very good, anyway.
Professor I.Q. Hi
} One brief addition: the best (i.e. most frightening and horrifying) film
} I've ever seen on nuclear war was WAR GAMES -- not the Matthew Broderick
} version, but the one made by the BBC in the early sixties for TV, that
} was so graphic it was never broadcast. Made to appear like a documentary,
} it pulls no punches; I saw it in high school, and while I could never say
} that I *enjoyed* seeing it, I'm glad that I did.
You've just given Mark Leeper an opening to expound on this one again. :-)
I've never gotten the opportunity to see this film, though I've wanted to
for years. By the by, the title is THE WAR GAME, not WAR GAMES.
"How *dare* you fart before the King!"
"I'm sorry. I didn't know it was 'is turn."
--- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA)
UUCP: ...!decwrl!ruby.enet.dec.com!boyajian
Mark Mitchell
}>To Have and Have Not **** 1944
}
}A rip-off of Casablanca. Bears little relationship to the Hemingway novel,
}which wasn't very good, anyway.
Similar to Casablanca? Yes. Bears little relationship to Hemingway novel?
Yes. Hemingway novel stunk? Yes.
However, all that aside this is a great film. It bears little relationship
to the Hemingway novel BECAUSE it stunk. William Faulkner (and a collaborator
whose name escapes me) did an excellent job of making something out of nothing
here. It's not really a rip-off of Casablanca, it's just another great film
in the same genre. (And who can forget Bogart and Bacall's first few scenes
together?)
--
"Do they blow up in funny shapes?" | Mark Mitchell Georgia Tech
"Nope. Not unless round's funny." | GTRI/STL/MSD Atlanta, GA
| mm...@prism.gatech.edu
Jack Campin
mori...@tc.fluke.COM (Jeff Meyer) wrote:
> One brief addition: the best (i.e. most frightening and horrifying) film
> I've ever seen on nuclear war was WAR GAMES -- not the Matthew Broderick
> version, but the one made by the BBC in the early sixties for TV, that was
> so graphic it was never broadcast. Made to appear like a documentary, it
> pulls no punches; I saw it in high school, and while I could never say that
> I *enjoyed* seeing it, I'm glad that I did.
It was actually called "The War Game"; the director was Peter Watkins, who
had previously made "Culloden", also on a very low budget [that film also
belongs on Trout's list]. On Trout's scale I'd rate it about **1/2; good
but a bit too didactic.
The most effective scenes are of the psychological after-effects - the man
unable to eat because his hands are shaking too much, the interviews with
the children long after the war's over.
It has now been broadcast, a few years ago. The Beeb really shot itself in
the foot over this, as the film must have got far more exposure as a result
of the ban than it would have if broadcast once and buried.
One film I would like to see someday, which really *does* pull no punches
but which is VERY hard to find: a film about the Hiroshima bombing made in
Japan from actual documentary footage shot by Japanese and US military
cameramen. The only screening I know of was one where Glasgow District
Council just permitted it one showing on some sort of club licence; the
same sort of restriction that applies to very sexually explicit stuff like
Pasolini's "Salo". I saw a few seconds of it excerpted in another film
once - someone having their burst eyeball surgically removed. I can't
remember the title - one English abstract noun like "Testimony" or
"Providence", I think.
My absolute favourite nuclear war film is "The Atomic Cafe", which is
about how the nuclear/military complex sold itself to the American public.
Hilarious extracts from Cold War propaganda films - even something the
audience can sing along with, a jingle for children ("Duck And Cover")
about what to do when you hear the warning siren go off. Seeing the way
the Pentagon really thought at the time makes "Doctor Strangelove" look
understated.
--
Jack Campin * Computing Science Department, Glasgow University, 17 Lilybank
Gardens, Glasgow G12 8QQ, SCOTLAND. 041 339 8855 x6045 wk 041 556 1878 ho
INTERNET: jack%cs.glasg...@nsfnet-relay.ac.uk USENET: ja...@glasgow.uucp
JANET: ja...@uk.ac.glasgow.cs PLINGnet: ...mcvax!ukc!cs.glasgow.ac.uk!jack
Jonathan D.
> THE TROUT GUIDE TO WAR MOVIES
Is missing (although we can forgive... :-)
PT 109 - the story (ahem) of John F. Kennedy...
and
Threads - the BBC version of a Post-Nuclear world. Very powerful
and also emotionally draining.
Danny Low
>an astounding viewing experience even today. Basically a set of black and
>white newsreel and Pentagon film clips, taken from such dangerous places as
>carrier decks, AA gun tubs, and airplane cockpits. The clips were edited
>together into a brilliant series of episodes about the US Navy's global role in
>WW2.
WARNING: Some of the sequences in Victory at Sea were staged. Some were
from WW 2 war movies. Most of the staged sequences are obvious. The
quality of the picture is noticeably better than film taken by cameramen
under fire and usually featured tight closeups of people.
The entire series is on now video tape if you want to see it.
Danny Low
"Question Authority and the Authorities will question You"
Valley of Hearts Delight, Sillicon Valley
HP SPCD dlow%hps...@hplabs.hp.com ...!hplabs!hpspcoi!dlow
Blair P. Houghton
>In a preceeding article jx...@cs.nps.navy.mil (John Locke) wrote:
>}>To Have and Have Not **** 1944
>
What you can do on a rainy day is read Bacall's book (entitled 'By Myself',
available at better used bookstores everywhere, and surprisingly good),
in particular the parts about To Have and Have Not, and then go see the
movie again. You can see their onscreen relationship reacting to their
offscreen relationship.
--Blair
"Fan."
Andrew Krieg
list and have some additions. I tried mailing them to Hank but didn't get
a response. Is their a special mailing list for updates to this list?
Anyway, here are some bits I know of. I hope they aren't redundant to
previous messages.
===========================================================================
Bo Derek 10
Tarzan
Bolero
She also was in _Orca_, the movie with the killer whale and one called (I think)
_Changing Seasons_. THe only thing I remember about it was a that she did a
hot tub scene in it.
Adrienne Barbeau "Maude"
The Fog
Escape from New York
Swamp Thing
Cannonball Run
Creepshow
She was also in Rodney Dangerfield's _Back to School_.
Genevieve Bujold Choose Me
King of Hearts
Dead Ringers
The Moderns
Coma
Anne of a Thousand Days
Obsession
Monsignor
Earthquake
Kamouraska
Trouble in Mind
Tightrope
Swashbuckler
French Can Can
Le Guerre est Finie
Isabel
Act of the Heart
Alex and the Gypsy
Another Man, Another Chance
Murder by Decree
Final Assignment
She also starred in a Disney film titled _The Last Flight of Noah's Ark_.
Denise Crosby Eliminators
48 Hours
"Star Trek: The Next Generation"
Desert Hearts
Pet Sematary
Raising Arizona
Miracle Mile
A very small bit part in _Skin Deep_.
Jody Foster Taxi Driver
The Hotel New Hampshire
5 Corners
The Accused
Siesta
Tom Sawyer
One Little Indian
Alice Doesn't Live Here Anymore
Bugsy Malone
The Little Girl Who Lives Down
the Lane
Candleshoe
Freaky Friday
Carny
The Bad News Bears
Foxes
O'Hara's Wife
"Bob & Carol & Ted & Alice"
Svengali
Stealing Home
"Rookie of the Year"
"The Courtship of Eddie's Father"
"Paper Moon"
She was also in the Disney flick _Napolean and Samantha_.
If anyone has a list dated past Aug. 10th, please e-mail it to me. Thanks.
--
=========================================================================
= The Marvel Historian A. Krieg =
= G.E. Medical Systems - CT - New Berlin, WI =
= USENET: kr...@jupiter.med.ge.com =
=========================================================================
= "Landing gear, landing gear, landing gear. =
= Have a beer, shut the door." - Howard Borden =
=========================================================================