Notable for its attempt to make Japanese soldiers in WW2, to mention nothing of Japanese Americans at the same time period, resemble human beings played by Asian actors rather than screaming, laughing banshees and coolies played by Caucasians, a la Micky Rooney in "Tiffanys" and Brando in "August Moon", this well intentioned film from Phil Karlson, alas, succumbs in its second half to Stanley Krameritis, an occupational disease common among 50s and early 60s action directors* who, not content to tell fast moving, hard hitting stories about criminals and psycopaths, decide they want to make a movie that "says something important" about "the human condition". Symptoms include excessive length, and repetitive scenes of soul searching, breast beating and debating of Great Moral Questions such as, and especially if it is a war film like this one, When To Surrender and What/Who Am I Fighting For? And Against? Eventually, terminal boredom ensues. The antidote for Stanley Krameritis, especially if it manifests itself in a war movie, is to take some "Steel Helmet" and "Hell Is For Heroes" and consult Dr. Fuller or Dr. Siegel in the morning. Unfortunately, Karlson seems to have ignored this sound advice. Oh well. At least we have the wonderful sex party/double striptease section in the middle to remind us that this particular director is capable of much better stuff. Give it a C plus.
*Other prominent victims include Otto Preminger with the insufferable "Exodus" and Nicholas Ray with the execrable "55 Days At Peking".
*Other prominent victims include Otto Preminger with the insufferable "Exodus" and Nicholas Ray with the execrable "55 Days At Peking".