Hello, all! Today, we’ll transition from a movie in which “the mission is the man” to a film where the man is on a mission… and the subject of the film. Much like Stephen Lang carried the film GODS AND GENERALS, so, too, does today’s film live or die on the performance of its star, introduced in the film in one of the most memorable openings ever to be put to film. It’s one that’s so good I’m going to include it here and save the trailer for the end of today’s write-up. Since we’re in World War II films, there’s little doubt that it’s George C. Scott’s bravura performance as George S. Patton in the film PATTON.
The film reviewer who wrote for Variety said that PATTON is “one hell of a war picture,” and I’d be inclined to agree if the war were the focus of the film. It isn’t, really, because the character is such a larger-than-life figure that he overshadows even the events of a freaking world war. That is a bit of a stretch, perhaps; but, if you’ve seen it, you may be inclined to agree that it isn’t much of one. I mean, the title of the film even hints at that fact.
Co-written by Francis Ford Coppola [yes, the same], the film draws largely from a couple of books about the man as well as one of his contemporaries, Gen. Omar Bradley [portrayed by Karl Malden (who surprisingly doesn’t say anything about American Express)]. It turns out that the producers had to rely on these resources rather than any kind of material from Patton’s diaries or family interviews because the Patton family opted not to provide any assistance to the folks making the movie. It’s interesting to imagine how the film might have differed, if any, had the family been involved to any extent rather than relying on two books and a guy Patton served with who might not even have liked him very much. Regardless, the end result is a great film… but mostly because of a timeless performance.
Beginning with the aftermath of the Battle of Kasserine Pass [a thorough shellacking of the US troops by the Afrika Korps under Erwin Rommel’s command], the film wastes no time in establishing Patton as “ol’ blood and guts,” a man fully capable and absolutely inclined to whip his troops into fighting shape. More than that, however, it manages to explore some of the more idiosyncratic aspects of the general, from his almost anachronistic sense of nobility and chivalry to his belief that he’d been reincarnated. The real story is a bit more nuanced than even a film that tops three hours in length can manage, of course, but it’s certainly a reasonable introduction to anyone who might be inspired to know more after watching it. At any rate, after the film introduces the character, it follows his exploits from North Africa to Italy to D-Day [“ish,” given his role as being essentially nothing more than a decoy, sidelined from the invasion after having slapped a shell-shocked soldier and consequently being removed from command] and culminates with his role in leading the Third Army in the Battle of the Bulge, relieving the so-called “Battered Bastards of Bastogne” and eventually smashing through the Siegfried Line.
Time for a self-indulgent anecdote of a personal nature – my great uncle fought in Patton’s Third Army, being decorated for valor for his service during the Battle of the Bulge; if only I’d been old enough to appreciate more fully what he did that I could talk with him about it on the rare occasion that I saw him, but it wasn’t meant to be… one day, tho’, I’m sure we’ll be able to share a story or two.
While the film quickly moves from battle to battle, it manages to balance reasonably compelling depictions of war violence with different looks into the complex personality of its main character. Often, this deeper exploration is achieved by examining how those around him interacted with or thought of him, from his main adversary on the battlefield, Erwin Rommel [played by Karl Michael Vogler] to what one could consider his other main adversary, British General Bernard Montgomery [played with foppish zeal by Michael Bates]. It’s all very well put together, and while a bit dated in the post-SAVING PRIVATE RYAN era, an excellent and imminently worthwhile examination of America’s greatest tactical mind since Stonewall Jackson. Enjoy!
[Just in case you wanted to see the trailer, too, it's embedded below.]
Other films recommended:
[Day 1 - KINGDOM OF HEAVEN (Director's Cut); Day 2 - GLADIATOR; Day 3 - TROY; Day 4 - SPARTACUS; Day 5 - BRAVEHEART; Day 6 - MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD; Day 7 - GLORY; Day 8 - GODS AND GENERALS; Day 9 - GONE WITH THE WIND; Day 10 - CAPITAINE CONAN; Day 11 - ALL QUIET ON THE WESTERN FRONT; Day 12 - GALLIPOLI; Day 13 - PATHS OF GLORY; Day 14 - SERGEANT YORK; Day 15 - DAS BOOT; Day 16 - SAVING PRIVATE RYAN]
The film reviewer who wrote for Variety said that PATTON is “one hell of a war picture,” and I’d be inclined to agree if the war were the focus of the film. It isn’t, really, because the character is such a larger-than-life figure that he overshadows even the events of a freaking world war. That is a bit of a stretch, perhaps; but, if you’ve seen it, you may be inclined to agree that it isn’t much of one. I mean, the title of the film even hints at that fact.
Co-written by Francis Ford Coppola [yes, the same], the film draws largely from a couple of books about the man as well as one of his contemporaries, Gen. Omar Bradley [portrayed by Karl Malden (who surprisingly doesn’t say anything about American Express)]. It turns out that the producers had to rely on these resources rather than any kind of material from Patton’s diaries or family interviews because the Patton family opted not to provide any assistance to the folks making the movie. It’s interesting to imagine how the film might have differed, if any, had the family been involved to any extent rather than relying on two books and a guy Patton served with who might not even have liked him very much. Regardless, the end result is a great film… but mostly because of a timeless performance.
Beginning with the aftermath of the Battle of Kasserine Pass [a thorough shellacking of the US troops by the Afrika Korps under Erwin Rommel’s command], the film wastes no time in establishing Patton as “ol’ blood and guts,” a man fully capable and absolutely inclined to whip his troops into fighting shape. More than that, however, it manages to explore some of the more idiosyncratic aspects of the general, from his almost anachronistic sense of nobility and chivalry to his belief that he’d been reincarnated. The real story is a bit more nuanced than even a film that tops three hours in length can manage, of course, but it’s certainly a reasonable introduction to anyone who might be inspired to know more after watching it. At any rate, after the film introduces the character, it follows his exploits from North Africa to Italy to D-Day [“ish,” given his role as being essentially nothing more than a decoy, sidelined from the invasion after having slapped a shell-shocked soldier and consequently being removed from command] and culminates with his role in leading the Third Army in the Battle of the Bulge, relieving the so-called “Battered Bastards of Bastogne” and eventually smashing through the Siegfried Line.
Time for a self-indulgent anecdote of a personal nature – my great uncle fought in Patton’s Third Army, being decorated for valor for his service during the Battle of the Bulge; if only I’d been old enough to appreciate more fully what he did that I could talk with him about it on the rare occasion that I saw him, but it wasn’t meant to be… one day, tho’, I’m sure we’ll be able to share a story or two.
While the film quickly moves from battle to battle, it manages to balance reasonably compelling depictions of war violence with different looks into the complex personality of its main character. Often, this deeper exploration is achieved by examining how those around him interacted with or thought of him, from his main adversary on the battlefield, Erwin Rommel [played by Karl Michael Vogler] to what one could consider his other main adversary, British General Bernard Montgomery [played with foppish zeal by Michael Bates]. It’s all very well put together, and while a bit dated in the post-SAVING PRIVATE RYAN era, an excellent and imminently worthwhile examination of America’s greatest tactical mind since Stonewall Jackson. Enjoy!
[Just in case you wanted to see the trailer, too, it's embedded below.]
Other films recommended:
[Day 1 - KINGDOM OF HEAVEN (Director's Cut); Day 2 - GLADIATOR; Day 3 - TROY; Day 4 - SPARTACUS; Day 5 - BRAVEHEART; Day 6 - MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD; Day 7 - GLORY; Day 8 - GODS AND GENERALS; Day 9 - GONE WITH THE WIND; Day 10 - CAPITAINE CONAN; Day 11 - ALL QUIET ON THE WESTERN FRONT; Day 12 - GALLIPOLI; Day 13 - PATHS OF GLORY; Day 14 - SERGEANT YORK; Day 15 - DAS BOOT; Day 16 - SAVING PRIVATE RYAN]
