A Certain Point of View: Writing, Film and Stuff

Heartbreak Ridge,  the 13th film directed by Clint Eastwood, is a strange war movie that takes  very  familiar stock characters and situations and attempts to give them some contemporary (at least in 1980s terms) twists to a story about the training of a Marine platoon and its eventual baptism by fire in battle.  Eastwood, who also produced  Heartbreak Ridge,  plays Gunnery Sergeant (GySgt) Tom “Gunny” Highway, a 30-plus year veteran and holder of the Medal of Honor who is facing retirement after seeing combat in Korea, the 1965 intervention in the Dominican Republic and – of course – Vietnam.  Because he has been in the Corps since he enlisted as a young adolescent, Highway is not too thrilled at the prospect of mustering out and feels he still has some role to play in the service.  Naturally, since the Marine Corps is one of the smallest branches of the military and “Gunny” is well-connected within the network of noncommissioned officers, he arranges to be transferred to the same

Considering the success of director Robert Aldrich’s 1967 war-action film  The Dirty Dozen , it’s not surprising that MGM/United Artists – the studio which owned the film rights to E.M. Nathanson’s 1965 novel – decided to produce a sequel which would depict the further missions of Maj. Reisman (Lee Marvin), Sgt. Bowren (Richard Jaeckel) and their wily superior officer, Maj. Gen. Worden (Ernest Borgnine).  As anyone who is remotely familiar with how the film industry works, studios are usually owned and operated by very conservative (in the fiscal sense of the word) men and women who tend to focus on how to make movies economically while making huge profits from them. This point of view also means that studio heads and producers tend to prefer “safe bets” rather than take huge cinematic gambles which may hurt the profit line and even sink their studios.  Because sequels and franchises tend to be “safer bets” than truly innovative movies, Hollywood tends to take a property – such as  The

In December of 1945,  Metro-Goldwyn-Mayer and Loews released director John Ford's They Were Expendable, a film about a U.S. Navy motor torpedo boats fighting against the Japanese during the dark days of late 1941 and early 1942. Starring Robert Montgomery, John Wayne, and Donna Reed, They Were Expendable is an adaptation of William L. White's 1942 best-selling book of the same title.  Written by Frank "Spig" Wead, a former naval aviator, the screenplay dramatizes White's "non-fiction" account of Motor Torpedo Boat Squadron  Three and some of its officers and men, covering the dark days of the Japanese invasion of the Philippine Islands (December 1941-May 1942). Though its factual veracity is, shall we say, doubtful, is one of the best war movies made during World War II, (or the period shortly after) partly because - except for the score - They Were Expendable tries hard to capture the emotional truth of the PT men's struggles to survive under th

One of the great truths in life is that all art, as writer-director Nicholas Meyer ( Star Trek II: The Wrath of Khan ) is fond of saying, reflects the times in which is it created. A good example of this is 1970's  Kelly's Heroes,  a wry, dark, and sometimes downright daffy caper-comedy set in World War II. Starring Clint Eastwood as an oft-busted ex-lieutenant-but-now Private Kelly,  Kelly's Heroes  is not so much a giddy Blake Edwards-inspired World War II comedy a la  What Did You Do in the War, Daddy?  but more of a Vietnam War-era revision of all those war movies wherein the G.I.s are always portrayed as imperfect but well-meaning "angels in battle dress and helmets" who are fighting to liberate Western Europe from Nazi tyranny. Kelly's Heroes,  directed by Brian G. Hutton, whol made only a handful of fair-to-middling features and a score or so TV episodes of various series before switching careers to plumbing, is essentially a Sergio Leone spaghetti West

On June 22, 1961 – by coincidence, the 20th anniversary of Adolf Hitler’s invasion of the Soviet Union – writer-producer Carl Foreman’s  The Guns of Navarone  premiered in the United States. Not only was it the first of several adaptations of novels by Scottish writer Alistair MacLean to become big-budget action-adventure movies, but it also marked the return of Foreman, who had been blacklisted during the Red Scare of the 1950s as one of the Hollywood Ten, to the limelight of the movie industry after years of working anonymously for more than a decade.  Starring Gregory Peck as Capt. Keith Mallory, David Niven as Corporal Miller, Anthony Quinn as Andrea Stavros, and Anthony Quayle as Maj. Roy Franklin,  The Guns of Navarone  tells the exciting – if at times a bit implausible – tale of a small Allied commando team tasked with one hell of a mission: Infiltrate the German-occupied island of Navarone in the Aegean Sea, avoid detection, and blow up a pair of large radar-controlled c

History is written by the winners. This axiom is so old and has been attributed to so many persons over the centuries - Pliny the Elder said something like this, and so have such historical figures as Napoleon Bonaparte, Adolf Hitler and Winston Churchill - that it seems as though it's become ingrained in history buffs' DNA. Whether you accept the idea that history, indeed, is often written in such a way that it favors the viewpoint of the winning side of a conflict at the expense of the losers' or not, if you carefully watch war movies about World War II - especially those made before the late 1960s - there's no doubt that films made by the former Allied powers (China, France, Great Britain, the Union of Soviet Social Republics, the United States and their allies) tend to prove that the axiom is more or less true. For instance, if you are an average American movie watcher (not necessarily a war film buff), chances are that when you think about World War II mo

Francis Ford Coppola’s original 1979 version of Apocalypse Now is a dark, sardonic, surrealistic yet mesmerizing reworking of Joseph Conrad’s novella Heart of Darkness. Starring Marlon Brando, Martin Sheen, Robert Duvall, Fredric Forrest, Larry Fishbourne, and Dennis Hopper, Apocalypse Now trades Conrad’s African setting for the then-still largely unexplored (by Hollywood, anyway) jungles of Vietnam. The film’s premise is deceptively simple. A hard-bitten, combat-weary Capt. Benjamin Willard (Sheen) is given a difficult (and highly classified) assignment: he is to travel up a long Vietnamese river on a Navy PBR (river patrol boat) to find the jungle outpost of Col. Walter Kurtz (Brando), a highly decorated and intelligent Special Forces officer who has gone "rogue" and utilizing what one senior officer describes as "unsound methods" to fight the North Vietnamese and Viet Cong. Willard is to locate Kurtz and "terminate (him) with extreme prejudice.&quo

World War II, for good or ill, has been the backdrop for hundreds – if not thousands – of movies produced by all the nations which participated in it even as it was being waged. Of course, though “combat” films along the lines of A Walk in the Sun, Battleground, The Longest Day and Saving Private Ryan often come to mind when the term World War II movie is mentioned, the genre actually straddles quite a few other film styles that aren’t restricted to movies about battles, campaigns or the hardware of the war.  Many love stories, dramas, comedies and even science fiction films have been set or partially set during World War II. Naturally, the sheer scope of World War II – fought on three continents and involving millions of combatants – and its more or less unambiguous “good versus evil” nature resulted in the near-mythologizing of certain events by Hollywood and writers of fiction. One of the most popular subgenres of World War II films is the “sabotage and commando r

Although Mel Gibson's self-destructive behavior over the past decade or so may be ushering in a premature end to his days as a Hollywood star, there's no denying that the man has had considerable success as both an actor and filmmaker ever since he began his acting career in Australian television back in the late 1970s. One of Gibson's earliest co-starring roles on his way to stardom was 1981's  Gallipoli,  Peter Weir's somber look at the experiences of Australian soldiers during World War I as they fight and suffer horrendous casualties in the disastrous Dardanelles campaign of 1915. Weir, who wrote the story on which David Williamson's screenplay is based, doesn't set out to give the Gallipoli Campaign - which was devised by a young Winston Churchill as a way to knock Turkey out of the war and give the Allies unfettered access to the Black Sea - the traditional "recreation of a major battle" treatment a la  The Longest Day  or  A Brid