During World War II, the US Marine Corps had two elite units called Raiders. They didn't last long and were absorbed into the rest of the Marine Corps. The Army had its elites -- the paratroopers, the Rangers, now Delta Corps; the Navy has its SEAL teams. But the Marine Corps decided it didn't need any elites because the entire Corps was elite.
Robert Ryan and his superior officer Pat O'Brien, are Rangers on Guadalcanal. The film open with a brief, almost surreal, battle scene on the sound stage. Ryan is wounded. Back in New Zealand, he meets the inevitable woman at a party, Ruth Hussey. Before the first night is over they have agreed to be married.
BUT -- and it's a necessary but -- O'Brien, who has never met Hussey, thinks that Ryan has the jitters and is lonesome and just fell for the first "ewige Weib" that crossed his path. So O'Brien has Ryan hijacked back to the states, to Camp Pendleton. This introduces the conflict between Ryan and O'Brien, erstwhile friends.
The business about Hussey has to be in there somewhere, otherwise what we'd have is not a dramatic story but a training camp film. And, indeed, the boot camp experience is brought in and put on display as if by 1944 no one had yet become familiar with its tribulations. But don't worry. O'Brien and Ryan make up, and Hussey gets her Marine. A captain too; a juicy catch. The film ends with another burst of heroism on a fictional island.
The movie is über-typical. You can't get more typical. It has friendship, romance, battle, and patriotism. (They left out the "mail call" scene.) O'Brien comes across as likable but already a bit old for front-line combat. Ruth Hussey's role is unimportant except insofar as it precipitates that argument between the two principals. But Robert Ryan is, let's say, interesting. He's young, somewhat handsome, and more relaxed than I've seen him elsewhere. Of course he's best as a psychopath -- those glittering steely eyes, the scowl. But this is really a decent performance, although the role itself isn't demanding. He was quite good in a few other later films -- "Crossfire" and "On Dangerous Ground," in both of them, a pustule waiting to pop.
It's all stage bound except for a bit of newsreel footage. That's not necessarily the kiss of death. It's the script and the clumsy direction and editing that torpedoes the movie. The gags between the two comic reliefs are extended and unfunny. And if you want to see combat effectively mounted on a sound stage, see "Bataan" or the excruciating fifteen-minute combat sequence in "Pride of the Marines." And on the night of their first meeting, Ryan is dancing with Hussey and admits he loves her. The scene lacks conviction, never mind poetry. For impending loss, watch the scene of the pilots dancing with their wives in "Thirty Seconds Over Tokyo."
Robert Ryan and his superior officer Pat O'Brien, are Rangers on Guadalcanal. The film open with a brief, almost surreal, battle scene on the sound stage. Ryan is wounded. Back in New Zealand, he meets the inevitable woman at a party, Ruth Hussey. Before the first night is over they have agreed to be married.
BUT -- and it's a necessary but -- O'Brien, who has never met Hussey, thinks that Ryan has the jitters and is lonesome and just fell for the first "ewige Weib" that crossed his path. So O'Brien has Ryan hijacked back to the states, to Camp Pendleton. This introduces the conflict between Ryan and O'Brien, erstwhile friends.
The business about Hussey has to be in there somewhere, otherwise what we'd have is not a dramatic story but a training camp film. And, indeed, the boot camp experience is brought in and put on display as if by 1944 no one had yet become familiar with its tribulations. But don't worry. O'Brien and Ryan make up, and Hussey gets her Marine. A captain too; a juicy catch. The film ends with another burst of heroism on a fictional island.
The movie is über-typical. You can't get more typical. It has friendship, romance, battle, and patriotism. (They left out the "mail call" scene.) O'Brien comes across as likable but already a bit old for front-line combat. Ruth Hussey's role is unimportant except insofar as it precipitates that argument between the two principals. But Robert Ryan is, let's say, interesting. He's young, somewhat handsome, and more relaxed than I've seen him elsewhere. Of course he's best as a psychopath -- those glittering steely eyes, the scowl. But this is really a decent performance, although the role itself isn't demanding. He was quite good in a few other later films -- "Crossfire" and "On Dangerous Ground," in both of them, a pustule waiting to pop.
It's all stage bound except for a bit of newsreel footage. That's not necessarily the kiss of death. It's the script and the clumsy direction and editing that torpedoes the movie. The gags between the two comic reliefs are extended and unfunny. And if you want to see combat effectively mounted on a sound stage, see "Bataan" or the excruciating fifteen-minute combat sequence in "Pride of the Marines." And on the night of their first meeting, Ryan is dancing with Hussey and admits he loves her. The scene lacks conviction, never mind poetry. For impending loss, watch the scene of the pilots dancing with their wives in "Thirty Seconds Over Tokyo."