THE BEST YEARS OF OUR LIVES -- Blu-ray Review by Porfle

 

Originally posted on 10/28/13

 

Like so many soldiers throughout the ages, returning World War II veterans were faced with a special dilemma--they were back in the homefront they'd yearned for, yet surrounded by people who had no idea what they'd just been through and what they were going through now. 

The problems these men had fitting back into peacetime society--including becoming members of their own families again--are skillfully and sympathetically explored in director William Wyler's Oscar-winning masterwork THE BEST YEARS OF OUR LIVES (1946), now available on Blu-ray from Warner Home Video.

Three ex-servicemen--Army sergeant Al Stephenson (Frederic March,  DR. JEKYLL AND MR. HYDE), Air Force captain Fred Derry (Dana Andrews, CURSE OF THE DEMON),  and Navy swabbie Homer Parrish (Harold Russell)--hitch a long ride on a military transport to their hometown and become bosom buddies along the way. 

We begin to feel their tension at seeing family and friends again as they liken it to "storming the beaches", with Homer especially dreading the impending reunion due to the loss of his hands during his ship's sinking.  He fears not only how his folks will react but mostly whether or not his prospective bride, girl-next-door Wilma (Cathy O'Donnell, BEN HUR), will now reject him.

Fred has a different problem--his blond bombshell wife, Marie (a drop-dead gorgeous Virginia Mayo), to whom he had been married a mere twenty days before going overseas, is a party animal whose recent job in a nightclub has made her accustomed to a fast lifestyle which her unemployed husband can't provide. 

The young Andrews is ideally cast as a once-proud soldier who now must return to his old job as a drugstore soda jerk, biting his lip as a former underling orders him around while an uncaring boss, as did many at the time, regards him and other returning vets as a nuisance to society.  With Marie constantly berating him for not being successful or ambitious enough, and openly flaunting her intentions to "step out" on him, we can hardly blame Fred when he falls for Marie's exact opposite, the lovely and understanding Peggy (a vibrant Teresa Wright).

Trouble is,  Peggy is Al's daughter, and he's having his own problems without having to worry about her hooking up with a married man.  Unlike his two pals, former banker Al returns to a luxurious apartment but feels just as out-of-place among his wife and two kids.  Their reunion is tense and uncomfortable--empathetic viewers, in fact, may feel this way for much of the film--with Al first glimpsing his wife Milly (Myrna Loy) across the expanse of a long hallway that symbolizes the gulf still lying between them.  (He'll later describe the feeling of crossing that hallway as "like going overseas again.")

In  the film's opening scenes, it's heartrending to see the near-desperation with which the three main characters cling to each other's sympathetic company rather than face the prospect of returning to the families who now seem almost like strangers to them.  Later,  we fear that they'll never reassimilate back into normal life. 

This is especially true when restless Al urges Milly and Peggy to join him for a night out on the town.  March, seemingly slipping  into his celebrated Mr. Hyde persona at times,  portrays Al as a manic, nearly out-of-control drunk on his first night back--it's almost as though he's decompressing, or trying to put on the brakes like a speeding jet landing on a runway.  

It makes us glad that Milly is such a strong, sensible, supportive wife, with a rock-solid Myrna Loy (THE THIN MAN) lending her the stature of a woman any man would fight to come back home to and be glad to have on his side.  With her help, Al will eventually "mature" into a self-assured, no-nonsense personality whose unshakable principles threaten to get him into hot water back at the bank when he starts granting loans to other veterans with little or no collateral.  His drinking is another concern, as is the growing rift between him and Fred over daughter Peggy.

Even though we know Fred's marriage to Marie hasn't much of a future, his impulsiveness worries us when he steals a kiss from Peggy after an innocent lunch date.  Her growing attraction to him draws her into a terrible quandary which puts her at odds with her parents, and the scene of their most emotional confrontation is powerfully done. 

Meanwhile,  Fred's feelings of worthlessness are dramatically illustrated when he visits a "graveyard" for derelict bomber planes that are to be junked.  Sitting in the nose of a rusty, engineless plane and reliving his experiences as a bombadier, he realizes that he, too, is a wartime relic to be either recycled or tossed on the junk heap.  Director Wyler renders the sequence with exquisite skill, while Andrews gives it his all and musical composer Hugo Friedhofer pulls out all the stops--it's a gripping scene. 

Still, this is nothing compared to the emotional rollercoaster in store for the viewer regarding the unfortunate sailor, Homer.  Portrayed by real-life amputee Harold Russell, himself a former serviceman who won the Best Supporting Actor Oscar for his debut role, Homer endures excruciating emotional torment which we can't help but share as he feels isolated amidst his own family and impotent as a man. 

During a scene in which he silently allows his father to remove his "arms" and dress him in his pajamas--in what was certainly a reflection of his own real-life experiences-- Russell's face and demeanor tell us everything we need to know about the thoughts and emotions roiling inside him.  When he angrily thrusts his hooks through a windowpane in response to the curious looks of his little sister and her friends, it's a shocking and disturbing moment in cinema. 

Russell gives an earnest, painfully uninhibited performance that lends added dimension to what is already a devastatingly effective and multi-faceted story.  Andrews has probably never been better, nor has Teresa Wright, with their final scene together delivering a substantial payoff for the film as a whole.

March and Loy, the two old pros, come through like gangbusters as a couple whose problems only seem to make them stronger as long if they face them together.  And in a role that displayed her dramatic talent at a time when she was known mostly for comedy, Virginia Mayo proves that she's not only a knockout but can deliver a raucous, punchy performance (her "mirror" scene with Wright dazzles, as do her frenetic exchanges with Andrews.)  Also in the cast are stalwarts such as Hoagy Carmichael, Ray Collins, Steve Cochran (as Marie's oily-haired new beau), Don Beddoe, and Gladys George.

The single-disc Blu-ray from Warner Home Video is in 1.77:1 widescreen and English 1.0 sound.  Subtitles are in English, French,  and Spanish.  Bonus features consist of a brief introduction by Virginia Mayo, interview footage with Mayo and Teresa Wright, and the theatrical trailer. 

After THE BEST YEARS OF OUR LIVES has already put us through the wringer with its other stories of desperation and redemption,  it saves its deepest felt and most lasting impact for the final scenes between Harold Russell's "Homer" and girl-next-door Wilma (Cathy O'Donnell is sweetness incarnate in the role) finally resolving the long-running uncertainty that has lingered between them since his return.  It's one of the most heartrendingly emotional sequences I've ever seen, and if you can get through it without blubbering like a baby, then, as Kipling once said, "You're a better man than I am, Gunga Din!"

THE BEST YEARS OF OUR LIVES -- Blu-ray Review by Porfle

ZULU DAWN -- Blu-Ray/DVD Review by Porfle

 

Originally posted on 3/12/13

 

The Battle of Isandlwana is known as history's worst defeat of a "modern" army by native forces, and you'll see why when you watch Severin Films' Blu-Ray/DVD release of the rip-roaring ZULU DAWN (1979), a disheartening portrait of a pointless and utterly wasteful military massacre.

It's 1879, and the supremely arrogant Lord Chelmsford (Peter O'Toole), who commands the British Army in South Africa, is eager to declare war on the Zulu Empire for fun and profit.  He sends an unreasonable ultimatum to the Zulu king, Cetshwayo, which is rightly refused, giving Lord Chelmsford an excuse to go on the offensive.

"My only fear is that the Zulus will avoid an engagement," Chelmsford haughtily remarks, and a successful initial skirmish with a small band of Zulus reinforces his false confidence.  But unknown to him, King Cetshwayo has 30,000 fierce warriors ready to bring the fight to the advancing enemy, and when they clash with the unsuspecting British forces it quickly escalates into a terrifying one-sided slaughter.

Before this, however, ZULU DAWN takes its sweet time building up to the action as we watch the overconfident British forces at work and play in the town of Natal.  We see them as sophisticated gentleman soldiers dashing around self-importantly on horseback or engaging in spirited training exercises and bonding rituals as though living some curdled version of the "Boys' Adventure" tales.  Only Col. Anthony Durnford (Burt Lancaster) seems to have any understanding of the Zulus and how dangerous it is to underestimate them, but Chelmsford dismisses his warnings.

An elegant garden party gives officers and their families a taste of proper English life as realistic characters rub shoulders with familiar caricatures such as the achingly genteel Fanny Colenso (Anna Caulder-Marshall, WUTHERING HEIGHTS).  The party ends with the declaration of war and before long, horsemen and infantry are marching toward Zululand as their keen anticipation of battle grows.  "What a wonderful adventure we're undertaking!" one of them beams while riding briskly along on horseback.    

Meanwhile, we're given a preview of what they're up against when we see King Cetshwayo impassively viewing a fight to the death and reacting to Lord Chelmsford's ultimatum with a calm dismissal.  He's cruel and unyielding, ordering executions without trials and ruling with an iron fist, but we can't help but see his side of the issue and sympathize, as the film clearly aims to throw our loyalties for either side into conflict.  On one hand, the Zulus are protecting their homeland from outsiders and are portrayed as brave, loyal comrades.  On the other, honorable soldiers are being sent unprepared into a hopeless battle at the behest of unworthy superiors. 

When the two forces finally meet, it's like Custer's Last Stand multiplied by ten.  Current filmmakers like Peter Jackson can give us millions of CGI-generated soldiers in conflict, but there's still nothing quite as impressive as seeing thousands of actual people going at it on an expansive cinematic battlefield that's roiling with furious action. 

The clash of fighting styles is woefully evident as the smartly-dressed British line up in neat rows and fire in an orderly fashion while the Zulus stampede toward them by the thousands like a human avalanche.  Almost the entire second half of ZULU DAWN consists of such an overwhelming defeat of the British that there's barely even any suspense save the question of how long the massacre will last. 

Scattered vignettes depict small instances of valor that are somewhat redeeming, such as the attempt of Lt. William Vereker (Simon Ward) to rescue the battalion's colors and carry them to safety, and the heroism of C.S.M. Williams (Bob Hoskins) as he fights to the death in hand-to-hand combat alongside a callow young soldier with whom he has formed a fatherly bond.  We get to know some of the Zulus as well, as they're captured by the British and tortured before giving false information and, eventually, managing to escape as their erstwhile captors are then led into an ambush.

Peter O'Toole and Burt Lancaster are superb as they lead a remarkable cast including Denholm Elliott (RAIDERS OF THE LOST ARK), Simon Ward, Bob Hoskins, John Mills, Freddie Jones, Ronald Lacey, Nigel Davenport, Phil Daniels, Michael Jayston, and Anna Calder-Marshall.  Composer Elmer Bernstein (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE) contributes a score that's passable but not up to his usual standards.

Director Douglas Hickox (THEATER OF BLOOD, THE GIANT BEHEMOTH) handles first unit photography in a consistently interesting and imaginative way, with the initial scenes evincing a drollness and dry wit that evolves into an epic grandeur that's often bracing.  The main drawback is that much of the film's first half is almost too dry and conservatively paced, although this is more than made up for by the continuous action that follows the halfway mark.
 
The Blu-Ray/DVD combo pack from Severin Films is in widescreen with Dolby Digital 2.0 sound and full HD resolution.  No subtitles.  Extras consist of "The History of the Zulu Wars" and "A Visit to the Battlefield" with author Ian Knight ("Zulu Rising"), "Recreating the War" with historical advisor Midge Carter, a theatrical trailer, and outtakes. 

Fans of British colonialism will probably want to skip ZULU DAWN lest they find it an ultimately dispiriting experience.  Anyone who gets off on seeing a "primitive" indigenous population repelling a superior invading force, on the other hand, should have a ball.  But those interested in military history and warfare, and war-movie fans in general, will be best served by this vivid and sweeping depiction of one of the most unsual battles ever fought.

ZULU DAWN -- Blu-Ray/DVD Review by Porfle

COMBAT! FAN FAVORITES 50TH ANNIVERSARY -- DVD Review by Porfle

 

Originally posted on 9/30/12

 

During the initial TV run of the World War II drama series "Combat!" (1962-67) I couldn't get into it because it was too grown-up.  During its syndicated reruns, I was going through my "pacifist" phase and couldn't stand to watch anything war-related unless it was blatantly, even stridently anti-war.  Now, however, I'm blazing my way through Image Entertainment's 5-disc DVD set COMBAT! FAN FAVORITES 50th ANNIVERSARY like Patton making a beeline to Berlin.

Without a doubt, this is some of the best stuff ever done for series television.  Gritty, realistic (as far as I know, anyway), and unflinchingly adult, the adventures of Sgt. Saunders (Vic Morrow), Lt. Hanley (Rick Jason), and their battle-weary squad of American infantry veterans in post-Normandy Europe puts us right in the middle of all the action and lets us share some of the emotional and existential turmoil that haunts these soldiers every perilous step of the way.

No flag-waving here--these are simply stories about hot, tired, and, most of all, scared soldiers doing a grueling job and trying to stay alive on the front lines.  The streetwise Kirby (Jack Hogan), Lousiana bayou denizen Caje (Pierre Jalbert), gentle giant Littlejohn (Dick Peabody), and compassionate medic Doc (Conlan Carter) wade into the fray with guns blazing yet struggle to retain their humanity, always coming across as three-dimensional human beings and never simple action figures.

Moral quandaries and crises of the soul get just as much play in these well-written stories as gunfights and explosions.  The dialogue snaps, crackles, and pops, and so do the performances.  Method actor Morrow is terrific as the gruff but sensitive Sgt. Saunders, who always does the right thing no matter how painful it may be, and doesn't hesitate, when necessary, to bark out a speech such as the following: "Kirby, I'm only gonna say this once, and I'll say it to all of you.  Keep your mouths shut, your heads down, and your ears open.  Follow my orders and don't ask why.  Is that clear?" 

Saunders sometimes questions orders himself, but his commanding officer Lt. Hanley is equally terse: "Because we were told to."  Rick Jason's seldom-seen character may seem like weak stuff at first, but his depth comes through in less flamboyant but equally dramatic sequences such as in the flashback episode "A Day in June" which, on a TV budget and with generous amounts of stock footage, depicts the D-Day landing at Normandy.  Jason also gets to show his stuff in "The Enemy", a tense two-man conflict between him and a cunning German demolitions expert played by Robert Duvall.  (Anna Lee guest stars as a nun.)

These taut, riveting dramas are punctuated by explosive battle sequences blazing with some of the most thundrous and thrilling action ever filmed for television, often of feature film quality but without the big-money effects.  The beautiful black-and-white photography sometimes approximates the texture of a Joe Kubert-drawn war comic, and many episodes boast skillful direction by the likes of Robert Altman, Ted Post, Bernard McEveety, and Burt Kennedy.  (Morrow himself directs three titles in this set.)  Editing and other production elements are also first-rate.

A two part episode, "Hills Are for Heroes", holds its own with "Saving Private Ryan" or "Band of Brothers" for fierce non-stop battle action that's realistic, harrowing, and emotionally devastating.  Written by "Star Trek: The Original Series" veteran Gene L. Coon and directed by Morrow, it's the story of the squad's seemingly doomed effort to capture a hilltop bunker that's practically impregnable. 

Mutiny looms as the body count rises, with Kirby and the others threatening to disobey the relentless orders that a heartbroken Lt. Hanley is forced to convey from the top.  The awful burden of command is depicted in scenes of almost unbearable intensity, with Hanley privately lamenting to Saunders that the brass "with their maps and their lines...forget they're talking about flesh and blood...and men who die when bullets hit them."
 
Attack after harrowing attack is doomed to bloody failure as Vic Morrow's sometimes impressionistic direction puts us right in the middle of the action (the handheld camerawork of the series is outstanding for its time), even capturing the POV of a dying soldier whose world has just been shot out from under him. 

If you took the first twenty minutes of "Saving Private Ryan" and extended the sequence to feature length (albeit on a much smaller scale), you'd have something approximating "Hills Are for Heroes."  In my opinion this incredible two-part episode, taken as a whole, constitutes one of the finest low-budget war films ever made.  By any standard, it's absolutely phenomenal television.

Each of the five discs in this DVD set follows a specific theme illustrated by four well-chosen episodes.  The first three themes are "Espionage", "New Replacements", and "The Squad", followed by "The Best of Hanley" and "The Best of Saunders."  "Espionage" begins the set with James Coburn as a German spy pretending to be an American G.I. in "Masquerade."  James Whitmore portrays a German officer trapped into impersonating a priest in "The Cassock", an episode that achieves a genuine kind of dramatic fascination when one of Saunders' men prevails upon the faux priest to hear his confession. 

"New Replacements" tells the stories of raw recruits--some fearful, some arrogant, and some just pitifully out of place--who, for better or worse, become attached to Saunders' squad.  Among the guest stars are John Cassavetes ("S.I.W."), Nick Adams, John Considine, Tab Hunter, and Buck Taylor.  "The Squad" shows us the day to day struggles, heartbreaks, and occasional victories experienced by the men under Saunders' command, with Lee Marvin giving his usual hardbitten performance as an abrasively uncompromising demolitions expert in "The Leader." 

"The Best of Saunders" begins with the Robert Altman-directed "Survival", probably my least favorite episode in the bunch, and steadily improves with the aid of some great stories and guest stars such as Rip Torn ("A Gift of Hope") and James Caan as a young German officer ("Anatomy of a Patrol").  "The Best of Hanley" contains some of the set's finest episodes with "A Day in June", "The Enemy", and "Hills Are for Heroes" parts 1 and 2.  Guest stars include Harry Dean Stanton, Sheckey Greene, a blink-and-you'll-miss-him Tom Skerritt (unbilled), and the aformentioned Robert Duvall and Anna Lee.

Other episodes not previously mentioned are "The Little Jewel", "The Long Walk", "Bridgehead", "Bridge at Chalons", "The Glory Among Men", "Rear Echelon Commandos", "The Celebrity", "The First Day", and "The Little Carousel."

The DVD set from Image Entertainment is in full frame (1.33:1) with Dolby Digital mono sound.  No subtitles or closed-captioning.  No bonus features.  Picture quality looks great to me, but my copy seemed to have a problem with occasionally jittery-sounding audio, particularly in the background music.  Not a dealbreaker for me, but audiophiles may want to give the set a test-drive before buying.

Perfect for Veteran's Day or any other day, COMBAT! FAN FAVORITES 50th ANNIVERSARY is solid entertainment all the way.  If you're into war movies or you just like first-rate, hard-hitting action and drama, television rarely gets any better than this. 

COMBAT! FAN FAVORITES 50TH ANNIVERSARY -- DVD Review by Porfle

Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunchbox!

Okay, this isn't a real lunchbox--we were just having a bit of fun with one of the goofier characters from John Wayne's controversial 1968 Viet Nam epic, THE GREEN BERETS. Namely, the doggedly "cute" little Vietnamese kid named "Ham Chunk" (Craig Jue) who's intended to make our heartstrings go all a-flutter.  (Click pics to enlarge.)

In the movie, Ham Chunk is an orphan who hangs around a U.S. military base deep in the combat zone and likes to play pranks on the soldiers (after which he points and utters his catchphrase, "Ha ha, you funny!")

He gets adopted by--or rather, adopts--an unconventional lieutenant named Peterson, played by Jim Hutton, who becomes his father figure.  The cuteness factor is cranked up to eleven during their scenes, especially when accompanied by film composer Miklos Rozsa's bathos-enriched "Ham Chunk" theme music.



[SPOILER] When Peterson fails to return from a dangerous mission, the kid loses it.  "Peter-san!  Peter-san!" he wails, searching desperately amongst the empty helicopters to no avail. 

It's up to the Duke to step up, take the poor kid by the hand, and lead him into the sunset (which, famously, sets in the East). [/SPOILER]

Anyway, the lunchbox may be fictitious, but we'd love to have one.  Whether in the lunchroom at school or the breakroom at work, it would make a dandy conversation piece!

[MORE SPOILERS:]

Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunchbox!