Showing posts with label world war i. Show all posts
Showing posts with label world war i. Show all posts

Wings (1927) (1927) Review

Wings  (1927) (1927)
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Wings is a great movie and well deserved of the very first ever Academy Award for Best Picture. The problem is it hasn't been released officially in the U.S., and until such time this Korean import version will have to do. While i'm glad to have this film in my "Best Picture" collection? I should add that the picture is somewhat grainy, flickers & jumps around quite a bit, and there is no way to turn the annoying subtitles off. Subtitles on a silent movie you ask? Yes there are! As with all silent movies, there are dialogue cards that appear on the film between scenes so that you can read what the actors are saying. And this version has subtitles which repeat the dialogue word-for-word, but not at the same time as the dialogue cards, which means you have to read every word twice, the second time after the film resumes. They're quite distracting to the movie, and the main reason i'm rating this three stars.

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Gallipoli (1981) Review

Gallipoli (1981)
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It's unfortunate in the extreme that the First World War has largely fallen by the wayside. If we hear anything about the conflict at all, it's usually on the History Channel or another network airing a documentary full of grainy, black and white clips of men stumbling over the top of trenches. Interest in historical events tends to drop off significantly when those involved pass away, and in the case of the generation that fought this horrific war not only have they exited the stage, they have left the building as well. I developed a life long interest in "the war to end all wars" after seeing Peter Weir's 1981 film "Gallipoli" in a small, run down art house theater at the age of ten. I didn't understand the historical context at the time, but this dramatic interpretation of events that unfolded in the Dardanelles during 1915 left a lasting impression on my impressionable mind. I recently rewatched the film and can say that it still works as an intense drama and as a serious antiwar statement. Weir's overt hostility toward the British commanders at Gallipoli, however, doesn't stand up as well. By the way, this is one of the films that propelled Mel Gibson to international stardom.
Weir decided to focus his film not on the massive armies battling away in Europe, but on two individuals living in Australia. Archy Hamilton (Mark Lee) and Frank Dunne (Mel Gibson) are two of the fastest runners in the country. Hamilton trains with his demanding grandfather, who promises the young lad that if he works hard he may yet go down as the next national sports hero. Frank, on the other hand, wanders around the country with a few buddies taking any job he can get and generally just having a lot of fun. News of the escalating war in Europe is vague and distant, referenced only when someone brings up a news story they saw in the paper. Archy wants to go and fight, attracted by the lure of glory that has suckered millions of young people since the dawn of time into disaster. Frank doesn't think of war as glory, and when his pals bring up the idea of enlisting he quietly makes his position known. Both of these young men's lives are forever changed after the end up competing against each other in a foot race at a regional fair. Archy barely wins, but a friendship develops between the two that soon finds Frank tagging along when Archy decides to enlist in the illustrious cavalry. Frank agrees to join with Archy, once he discovers that the ladies love a soldier, but goes into the infantry after failing to qualify for the light horse unit.
It really doesn't matter anyway since horses won't make a bit of difference when the ANZAC (Australian and New Zealand Army Corps) soldiers head first to Egypt and then the Dardanelles for combat against the Ottoman Turks. What the war effort needs are bodies capable of running headlong into a withering wall of machine gun fire, and cavalry troops minus their steeds will work in this capacity just as well as infantrymen. Before they reach the killing fields, Archy and Frank reunite during a training exercise in Egypt. Hamilton convinces his commander to enlist Dunne in the cavalry, claiming that his skills as a runner rival his own and that both men will make a major contribution to the regiment. Weir shows us plenty of carefully crafted scenes of the men having a good time in Cairo, of the deepening camaraderie taking place even as the war looms larger and larger in the background. The movie takes a doom and gloom turn as the ANZAC forces land at Gallipoli to take part in the fighting. Casualties mount as attacks designed to expand the beachhead fail under Turkish machine guns. Soon, Archy and Frank know they will have to go over the top too, and realize they will certainly perish in the process. The conclusion to "Gallipoli" is one of the most emotionally grinding, soul shattering denouements in motion picture history.
The only thing I found extremely irritating about "Gallipoli" is the cheesy synth musical score, which now sounds so early 1980s that it dates the picture terribly. I think the message about how people join up to go to war for all the wrong reasons, however, is still highly relevant. And if there was any war that everyone should have avoided, it was World War I. Generals and leaders still subscribed to antiquated notions of warfare, never taking into account machine guns, poison gas, and airplanes would decimate the troops. The fatalities were truly appalling, with millions perishing in muddy trenches during the four year conflict. Weir expertly depicts the squalid conditions of the trenches, but he goes too far blaming the film's fatal charge on the British commanders. First of all, far more British soldiers died during the campaign in the Dardanelles than did members of ANZAC. Second, why place the onus for the war on the British? Plenty of commanders on all sides made mistake after mistake in this conflagration, mistakes that resulted in so many fatalities that it's a wonder humanity didn't rise up and cast their leaders into the fire.
"Gallipoli" wins the day in the end thanks to the charm of Mark Lee and Mel Gibson. Weir's cinematography sinks its claws in as well. Check out the shots of the Australian outback, the Red Cross party, and the landing at Gallipoli to learn why. The transfer looks good, but the only extra on the disc is a short interview with Weir about the making of the film. I wanted a commentary track for this film desperately, and still hope a special edition will arrive on the market in the near future. If you haven't seen "Gallipoli," check it out soon.


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Masterpiece Theatre: All the King's Men (2000) Review

Masterpiece Theatre: All the King's Men (2000)
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It is unusual in the history of warfare for entire units to disappear without a trace and when it does occur, such occurrences are usually the result of serious mistakes that lead to the annihilation of one's command. In American history, Custer and the 7th Cavalry come to mind. Further back, the disappearance of the entire Roman 9th Hispana Legion in Scotland is another example. In the British-made movie entitled "All the King's Men," a more recent occurrence of such an incident is portrayed. On August 12, 1915 at Gallipoli, over 300 British soldiers of the 1/5th Norfolk Battalion attacked into a morning mist and where never seen again. Few of the bodies were ever found and none returned from Turkish prisons after the war. Winston Churchill no less, called it one of the great-unsolved mysteries of the 20th Century.
This film focuses on the "Sandringham Company," formed mostly from servants, gardeners and other workers on King George V's estate of that name, which were part of the 1/5th Norfolk Battalion. Virtually none of these men were ever seen again and the Royal family made great efforts during and after the war to ascertain their fate. The main characters in this film are Captain Frank Beck (David Jason), his two nephews who are lieutenants in the company, a Sergeant Grimes, King George V and Queen Alexandra. Beck is the main focus, as the fifty-plus estate manager who organizes and prepares the unit for war; rather than appearing as an odious "Colonel Blimp" type character, Jason wonderfully portrays Beck as a trusted father figure in the unit, respected by both the King and the troops. Much of the early part of the film focuses on the lives of the men while on the estate, and Beck's efforts to go to war with them despite his age. Eventually, Queen Alexandra lends her support to his martial ambitions and Beck is allowed to lead his men off to Gallipoli.
Unfortunately, the film bogs down a bit once the unit gets to Gallipoli. In reality, the 1/5th Norfolk landed at Suvla Bay on 10 August and was lost two days later, but in the film these two days seem to drag. The fact that the British were making a major effort to break out of the Suvla Bay enclave is missed here, because the film shows the men of the company lounging about and engaging in mundane camp activities. Some patrol activity against Turkish snipers is shown, but this has little relevance. On 12 August, as part of a minor preliminary operation to clear the way for a larger attack on the next day, the 1/5th Norfolks and several other units are sent forward to clear out Turkish outposts. At this point in the film, when the unit disappears in the mists, the director begins to switch back and forth between post-war investigations into the disappearance and a hypothetical depiction of what actually occurred on that day.
Historically, the film is a bit disappointing in recounting the fate of the "Sandringham Company" because it fails to put the day in perspective. The Sandringham company is shown in total isolation from the rest of the British army. The participation of other units or even the rest of the battalion is not depicted in this film, nor is even the audience told what their mission was. In fact, Captain Frank Beck did not lead the attack; it was his superior Colonel Beauchamp (Beck is never shown interacting with his superiors), who also died. The 1/5th Norfolk lost 372 men that day, of which the Sandringham men were only 2/3rds of the casualties. Even more glaring is that the British suffered about 18,000 casualties in less than a week at Suvla Bay during the period of the Sandringham company's brief involvement in the campaign; the disappearance of a few hundred troops in the midst of such slaughter and confusion might have made more sense given these facts.
Obviously the men were all killed, since none ever returned, but the exact nature of their fate remained a mystery. This film depicts the Sandringham's as punching through the thin Turkish line in a glorious charge, but are then overwhelmed once they become surrounded behind enemy lines. The Turks execute all the captured survivors, including Beck. While this theory has merit, it is not the only possibility. The film depicts the mist as obscuring the battlefield, but fails to show the heavy scrub brush and small trees that hindered the British advance and made it difficult for the officers to maintain control. Another plausible theory, not suggested by the film, is that the 1/5th Norfolk lost cohesion in the rough terrain and the battle-hardened Turks destroyed the untried unit piece-meal. While there is little doubt that the Turks were not taking prisoners that day, there is no evidence to suggest that the "Sandringham's" went down in a blaze of glory as depicted in this film (although certainly such a depiction is preferred to anything that suggests an ignominious end). Perhaps they did, but the loss of the entire unit is more indicative of incompetence than competence.
Despite these historical reservations, the film is very well done and provides a poignant example of the enthusiasm of men to go off to war in the early days of the First World War. Although some minor characters, including a conscientious objector and a shell-shock casualty, temper the glorious view of war to some extent, the film remains committed to a patriotic depiction of martial duty. The cost of such devotion is apparent by the end of the film, but the meaning of such sacrifice is left ambiguous. Contrast this British-made ambivalence about the sacrifices of the First World War with the current American films that glorify the sacrifices of the Second World War.

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The true story of England's vanished regiment is revealed. It is one of the most compelling and curious legends of the First World War. Led by Captain Frank Beck (David Jason), a favorite agent of King George V (David Troughton, Madame Bovary), Sandringham Company was comprised entirely of servants, grooms and gardeners from the King's Norfolk Estate. On August 12, 1915 the unit marched into battle against the Turks in Gallipoli and simply vanished, never to be heard from again. Queen Alexandra, played by Dame Maggie Smith (Harry Potter and the Sorcerer's Stone, A Room with a View), was the driving force behind the investigation into the real fate of the battalion. But despite her extensive inquires, no trace of the men was ever discovered. Now, All the King's Men brings the details of what really happened in 1915 to the screen for the first time. It tells the story of these amateur soldiers, the idyllic life and loves they left behind in the quintessential English country estate and the horrors of an ill-prepared campaign to which they were subjected.

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Great Waldo Pepper (1975) Review

Great Waldo Pepper (1975)
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This movie has special significance for me because I first saw it as a teenager. Yet it holds up as a great movie for me 28 years after it was made (unlike some others I could name).
I like Robert Redford in almost anything, and he's at his best here as a barnstorming pilot in the 1920s who pretends to have seen more action in World War One than he did. He made me feel for the character when he said, "It should have been me" after rival flyer Axel Olsen exposed him as a "four-flusher" for claiming he was a key figure in a famous battle.
Pepper finally gets his chance to go up against the German World War One ace Ernst Kessler (perhaps loosely based on the real German ace Ernst Udet) as a stunt pilot in a movie crew.
The dialogue scenes between Pepper and Kessler leading up to the climactic dogfight are the best part of the movie, even though Kessler's lines seemed to be written more in the interest of serving the plot than in serving the character.
The idea that Kessler was a man who only felt at home in the air, for whom nothing worked out well on the ground, resonated with me, as it did with Pepper, who felt the same way.
In closing, I'd like to mention the beginning of the movie when Waldo Pepper lands at a small town in Iowa to offer airplane rides. He promises a free ride at the end of the day to a boy named Scooter if he will tote a 5-gallon gas can back and forth from the filling station to keep Pepper's plane fueled.
The song that plays over the opening credits during this sequence has stuck with me for 28 years. I heard it again in 1992 while attending a boot camp graduation ceremony at the Great Lakes Naval Recruit Training Command and remembered it from the movie. I don't know the name of it, but I love that song.
Anyway, at the end of the day Scooter asks for his free ride and Pepper says he only promised that to get him to haul gas. He never takes kids for rides. Whether the character is kidding or not isn't clear, but it certainly seems that Scooter (and his dog) get the best ride of the day.
That sequence establishes Pepper as a decent, if somewhat slippery character and gets the movie off to a good start.

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Item Name: The Great Waldo Pepper; Studio:Goodtimes Home Video

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Gary Cooper - The Signature Collection (Sergeant York / The Fountainhead / Dallas / Springfield Rifle / The Wreck of the Mary Deare) (1950) Review

Gary Cooper - The Signature Collection (Sergeant York / The Fountainhead / Dallas / Springfield Rifle / The Wreck of the Mary Deare) (1950)
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So you get five film starring this LEGENDARY ACTOR who never gave a anything but great performances... Even in so-so films, Gary Cooper would shine all over with hos leading style... his easy command of the screen... his magnetic persona... his sincere smile and on-screen will that would drive you love him in any character he portrayed.
In THE FOUNTAINHEAD (my favorite here), Gary gives one of his best performances as Howard Roark, an architect (inspired by Frank Lloyd Wright, no less!) who was in a constant battle against mediocre styles. Someone trully creative and visionary who would not compromise. "I don't build in order to have clients. I have clients in order to build!"
But another thing about this film is the eye-popping sets and designs.
INCREDIBLE... I still love that building all made of glass!!!!
In SERGEANT YORK, Gary portrays a pacifist (who is enlisted during WWI) who will discover the true meaning of fighting... and what being a Hero is all about. JOHN HUSTON was one of the screenwriters of this GREAT 1941 film who, I'm sure, did back then much more than just entertain. In fact, this is one of the best Hollywood war films during the 40's...
And, of course, with HOWARD HAWKS, you can never go wrong.
THE WRECK OF THE MARY DEARE is a big CinemaScope film where special effects trully shine. Again, here Gary cooper gives a superlative performance.
SPRINGFIELD RIFLE is a smaller Western by ANDRE DE TOTH with another great performance. Here, Cooper joins (undercover) a group of criminals in order to solve a mystery of stolen guns. This is an above average B-movie with a good script.
DALLAS is a post-Civil War drama of a man returning home to seek revenge. Another B-film with a great performance.
This box is worth buying because of two reasons:
You get five films (three are trully great, two are trully good) for easily the price of just two or three...
...then, why not get them all?


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Gallipoli (1981) Review

Gallipoli (1981)
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It's unfortunate in the extreme that the First World War has largely fallen by the wayside. If we hear anything about the conflict at all, it's usually on the History Channel or another network airing a documentary full of grainy, black and white clips of men stumbling over the top of trenches. Interest in historical events tends to drop off significantly when those involved pass away, and in the case of the generation that fought this horrific war not only have they exited the stage, they have left the building as well. I developed a life long interest in "the war to end all wars" after seeing Peter Weir's 1981 film "Gallipoli" in a small, run down art house theater at the age of ten. I didn't understand the historical context at the time, but this dramatic interpretation of events that unfolded in the Dardanelles during 1915 left a lasting impression on my impressionable mind. I recently rewatched the film and can say that it still works as an intense drama and as a serious antiwar statement. Weir's overt hostility toward the British commanders at Gallipoli, however, doesn't stand up as well. By the way, this is one of the films that propelled Mel Gibson to international stardom.
Weir decided to focus his film not on the massive armies battling away in Europe, but on two individuals living in Australia. Archy Hamilton (Mark Lee) and Frank Dunne (Mel Gibson) are two of the fastest runners in the country. Hamilton trains with his demanding grandfather, who promises the young lad that if he works hard he may yet go down as the next national sports hero. Frank, on the other hand, wanders around the country with a few buddies taking any job he can get and generally just having a lot of fun. News of the escalating war in Europe is vague and distant, referenced only when someone brings up a news story they saw in the paper. Archy wants to go and fight, attracted by the lure of glory that has suckered millions of young people since the dawn of time into disaster. Frank doesn't think of war as glory, and when his pals bring up the idea of enlisting he quietly makes his position known. Both of these young men's lives are forever changed after the end up competing against each other in a foot race at a regional fair. Archy barely wins, but a friendship develops between the two that soon finds Frank tagging along when Archy decides to enlist in the illustrious cavalry. Frank agrees to join with Archy, once he discovers that the ladies love a soldier, but goes into the infantry after failing to qualify for the light horse unit.
It really doesn't matter anyway since horses won't make a bit of difference when the ANZAC (Australian and New Zealand Army Corps) soldiers head first to Egypt and then the Dardanelles for combat against the Ottoman Turks. What the war effort needs are bodies capable of running headlong into a withering wall of machine gun fire, and cavalry troops minus their steeds will work in this capacity just as well as infantrymen. Before they reach the killing fields, Archy and Frank reunite during a training exercise in Egypt. Hamilton convinces his commander to enlist Dunne in the cavalry, claiming that his skills as a runner rival his own and that both men will make a major contribution to the regiment. Weir shows us plenty of carefully crafted scenes of the men having a good time in Cairo, of the deepening camaraderie taking place even as the war looms larger and larger in the background. The movie takes a doom and gloom turn as the ANZAC forces land at Gallipoli to take part in the fighting. Casualties mount as attacks designed to expand the beachhead fail under Turkish machine guns. Soon, Archy and Frank know they will have to go over the top too, and realize they will certainly perish in the process. The conclusion to "Gallipoli" is one of the most emotionally grinding, soul shattering denouements in motion picture history.
The only thing I found extremely irritating about "Gallipoli" is the cheesy synth musical score, which now sounds so early 1980s that it dates the picture terribly. I think the message about how people join up to go to war for all the wrong reasons, however, is still highly relevant. And if there was any war that everyone should have avoided, it was World War I. Generals and leaders still subscribed to antiquated notions of warfare, never taking into account machine guns, poison gas, and airplanes would decimate the troops. The fatalities were truly appalling, with millions perishing in muddy trenches during the four year conflict. Weir expertly depicts the squalid conditions of the trenches, but he goes too far blaming the film's fatal charge on the British commanders. First of all, far more British soldiers died during the campaign in the Dardanelles than did members of ANZAC. Second, why place the onus for the war on the British? Plenty of commanders on all sides made mistake after mistake in this conflagration, mistakes that resulted in so many fatalities that it's a wonder humanity didn't rise up and cast their leaders into the fire.
"Gallipoli" wins the day in the end thanks to the charm of Mark Lee and Mel Gibson. Weir's cinematography sinks its claws in as well. Check out the shots of the Australian outback, the Red Cross party, and the landing at Gallipoli to learn why. The transfer looks good, but the only extra on the disc is a short interview with Weir about the making of the film. I wanted a commentary track for this film desperately, and still hope a special edition will arrive on the market in the near future. If you haven't seen "Gallipoli," check it out soon.


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Gallipoli is Australian director Peter Weir's (The Truman Show, Witness) story of how the irresistible lure of adventure and the unknown, combined with national pride, bring two young men (Mel Gibson and Mark Lee) together in the Australian army in 1915. They cross continents and great oceans, climb pyramids and walk through the ancient sands of Egypt to join their regiment at the fateful battle of Gallipoli. The echoes of history blend with the friends' compelling destiny as they become part of a legendary World War 1 confrontation between Australia and the German allied Turks- a battle that is to Australians what the Alamo is to Americans.

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Lawrence of Arabia (Collector's Edition, 2 discs) - DVD (1962) Review

Lawrence of Arabia (Collector's Edition, 2 discs) - DVD (1962)
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Apart from the slightly soft, washed-out picture quality during the opening credits of the movie, the DVD edition of LAWRENCE OF ARABIA is superb. The movie itself is spread onto 2 discs, with the disc break occurs just before Intermission. The Overture, Intermission, and the exit music are all played to a black screen, as per director David Lean's original wish. The picture quality looks as fresh and clean as, quite frankly, any film made in the 90s. In the dramatic shot where Lawrence appears on the far horizon after he rescued his Arab companion, the higher picture resolution of DVD makes it possible for us to notice his tiny figure whereas on VHS tapes or laserdisc it is so small it is almost impossible to see. Anyone who is serious about watching this film should get this DVD instead of any other version in order to appreciate the opulent cinematography and majestic atmosphere of this epic.
The disc has over 100 minutes of old and new documentaries and news footage about the making of the film, plus two well-designed DVD-ROM features (for Windows PC only): a interactive map showing the various journeys undertaken by the real T.E. Lawrence, and a "split-screen" feature that simultaneously plays the movie and shows you text of behind-of-scene information of the particular chapter of the movie that is playing. Since the DVD lacks a second audio commentary, being able to watch the film while reading facts about it is not a bad substitute.
The included "booklet" is a reproduction of the 1961 program given to theater goers, we are told. A nice touch: the disc case resembles Lawrence's diary in the movie.

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Newly restored - pristine audio & picture quality! Exclusive making of documentary, a conversation with Steven Spielberg, four original featurettes, New York Premiere, advertising campaigns.

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Flyboys (Widescreen Edition) (2006) Review

Flyboys (Widescreen Edition) (2006)
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The critics don't like it for the most part, but I really had a good time. Flyboys won't win any awards, but it sure entertained my packed theater. People laughed at most of the little jokes scattered throughout this long film. Clocking in at over two hours it is a bit too long and some of the dialogue is lacking, but the romance is handled well (unlike Pearl Harbor, thank God!), as are the many amazing CGI dogfight scenes. If your bored one afternoon, you should check out Flyboys, otherwise just wait for the DVD.

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Inspired by the true story of the legendary Lafayette Escadrille, this action-packed epic tells the tale of America's first fighter pilots. These courageous young men distinguish themselves in a manner that none before them had dared, becoming true heroes who experience triumph, tragedy, love, and loss amid the chaos of World War I. Hang on for the ride of your life!

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The Lost Battalion (2001) Review

The Lost Battalion (2001)
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In late 1918 WW1 was about to come to an end. The US, now fully involved in the war, participated in an offensive alongside the french in the argonne forest. In typical first world war fassion, the modest gains of the offensive were ultimatley lost as the allied forces simply withdrew back to their trenches. however one battalion comprised mostly of New Yorkers of the US 77th division did not withdraw. Instead they advanced, held, and fought to the bitter end. This is the story of the lost battalion; the 308th.
AE really got this one right. Wonderfully scripted and with lots of attention to historical detail and accuracey, this film really comes off as more than just an AE original, but something worthy of a trip to the theater had it been there. The movie opens with new recruits coming in before the offensive. The fresh troops are indoctrinated quickly into the frightening world of trench warfare. Rick Shroder does an amazing Job as the Major in command of the 308th. Having been a lawyer back in NYC, he has no real taste for battle, and struggles with his supperiors over the danger posed to his men by the over-ambitious objectives given to them.
Once they are in the Argonne forest, and fail to retreat like thier comrads, they become unknowingly surrounded by the Germans. The commanders, amazed that the 308th is sitting right smack in the German center, decides to lie and tell them that the french are still on thier flank, and to hold at all costs. Thus begins a desperate fight for survival, as ammunition and food runs out, and as wave after wave of german counter attacks are repelled.
As the bodies pile up we are given glimpes into the personalities of these brave men. Being mostly NYers, the troops are diverse, with italians, jews, polish, and others all creating an interesting dynamic. The movie shows how an interesting transference occurs as the code of the streets, or neighborhood pride than many NYC kids grow up with, lends itself heroicly to the battlefield, not allowing for honor in surrender. The presence of a southerner thrown into the battalion ads a really interesting dynamic between the characters.
the acting throughout the movie is superb, and special effects are gritty and realistic, not flashy and mainstream. Lots of nice touches are added into this movie to make it a pleasure to watch and a tribute to the courage of the men.
The Germans are unable to understand why this battalion has not withdrawn or surrendered as any normal unit in WW1 would do, when the captured southerner informs them with warning that they are "up against a bunch of New York City Gangsters". Finally, even the fearsome special unit of German storm troopers are repelled, and only a handfull of the 308th are left when allied forces finally link up with them once more. The loss of the argonne, puts the german line off balance, and contributes to the further advances that end the war.
I enjoyed this movie quite a bit as it shows both the futility of the war, and delves into the character of those fighting it. AE didnt just make a decent war movie, but a great film that easily deserves a place alongside all the hollywood classics of the genre.

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LOST BATTALION - DVD Movie

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