Die vermißte Patrouille

I first saw this movie in early 1950's in a local movie house that specialized in older movies. Hadn't heard of it before, and was delighted it was so good. A real "sleeper" from the past. I liked it very much then, and 15 or so years later, I caught it on TV, and managed to tape it. A classic soldiers survival story done right under John Ford's direction. The solid group of actors led by Victor McLaughlin do an excellent job here as British soldiers in Mesopotamia during World War I. Unusual role by Boris Karloff is believable. The enemy Arabs are unseen and pick off the soldiers one by one, adding to the suspense and drama. Good character development. I enjoyed it and awarded a "9".

The second film version of an archetypal adventure story is arguably the best despite some dated elements; John Ford deftly handles the proceedings and Max Steiner's stirring score - which at times foreshadows his later one for CASABLANCA (1942) - is a major asset. The solid cast of character actors is highlighted by Boris Karloff's remarkable turn as a religious fanatic who is slowly driven crazy by the amorality of his comrades and the futility of their struggle against unseen Arab attackers. The film can not only be seen to form part of the "British Empire" sub-genre of adventure films - with THE LIVES OF A BENGAL LANCER (1935), THE CHARGE OF THE LIGHT BRIGADE (1936), THE FOUR FEATHERS (1939) and GUNGA DIN (1939) being its most notable contemporary examples - but, if one were to stretch it a bit, also paves the way for more modern stuff like John Carpenter's ASSAULT ON PRECINCT 13 (1976). It's unfortunate that nowadays, only the 66-minute reissue version seems to be available rather than the original, full-length 74 minute version. Over 20 years ago, I missed my one opportunity to watch this one on Italian TV and have been on the lookout for it ever since; however, I did manage to catch two similarly-themed wartime actioners, BATAAN (1943; with Robert Taylor) and SAHARA (1943; with Humphrey Bogart) over the years which were quite good in their own right. Curiously enough, Cyril McLaglen had played the same part played here by his brother Victor in the earlier 1929 British film version.

The Lost Patrol (1934)

A John Ford war movie five years before his breakthrough movie, "Stagecoach," is interesting at least in relation to his career. So I watched this (on Warner Archive Instant).

And his lifelong themes are here—men in the wilds facing their weaknesses. His war films and westerns all have qualities of machismo, for sure, but they aren't just masculine adventure flicks. That's what makes even something like this minor effort stand up over time. When two of these men, after seeing their fellow soldiers die one by one, sit and smoke a pair of cigarettes and talk about themselves and their lives and their halted dreams, you have the depths of the movie. And of John Ford.

The plot is a contrivance—a British WWI patrol gets lost in an Arabian desert with hostile fire around them. As each of the dozen or so men dies, either from standing up at the wrong time, making a run for it, or just losing their mind in the heat, you zero in on the few that remain. And on the idea of survival. But none of this is particularly realistic. In fact, most of the film is supposed to be a night and it's bright as noon.

But Ford must have known it was a fable he was laying out, and he knew as well the realism he needed in the interactions between the men, all ordinary fellows. Except for one religious nut played with believable excess by Boris Karloff, and he also is a symbol of what their options are.

And so it steadily dwindles on, the men and the film, honing down to the final moments of desperation. And then a big sudden end which feels about right. That's what is odd, somehow—the actions of the main characters become more and more realistic as they get more extreme.

For those interested in Ford's famous blocking out of how his movies are shot, this is a decent example. Because most of it was shot on this oasis set, he could control within these confines the angles and the use of space of confinement well. Which is partly what the movie is about, too, thinking about either escape or entrapment and death. Not a great movie, but with an aura of greatness here and there and in the overview.

No, 'The Lost Patrol' is actually not as bad as that review summary (me trying to think of a summary that wasn't too generic or overused as others) made it sound. It has divided viewers and critics and it is not hard at all to see why. There was a lot of potential here, one of golden age cinema's best, more consistent and most influential directors in John Ford, an interesting idea for a story, music from Max Steiner and a talented cast (especially love Boris Karloff, a horror film icon).

'The Lost Patrol' really isn't one of Ford's best and it is actually one of my least favourite earlier efforts of his and a lesser effort of his overall to me. It does contain some of the best work of some of those involved, while others do not come over well which will be elaborated upon below. Is 'The Lost Patrol' bad? Absolutely not. It takes a lot for me to call any film of Ford's bad and this is no exception. The execution though was disappointing and very flawed.

Shall start with the good things. 'The Lost Patrol' looks great, some obvious rear projection aside on occasion. The photography is very beautiful and atmospheric and the scenery is typically quite majestic. Steiner's score has gotten mixed reviews here, for me it was lushly orchestrated (not surprising as it is Steiner), sweeping and deliciously exotic but can see why others found it intrusive and not always original (personally found the referencing affectionate and effective). There are signs of Ford's directorial brilliance, the more action oriented scenes are powerful and rouse.

Acting is generally not bad with one glaring exception. Victor McLaglen gives a ferocious and commanding performance in the lead role and Reginald Denny is just as excellent. Wallace Ford also excels in a type of role that he was always comfortable in.

Unfortunately, Karloff gives a rare bad performance in a truly bizarre part that was like watching an uncomfortably strange cartoon. His outrageously exaggerated acting is really at odds with everything else. Really appreciated that the film really did take time to try to make the characters meaty but this takes up too much of the cartoon and only McLaglen's character has much meat or felt realistic, the others felt like stereotypes and not always sensitive ones. The script has some thoughtful and intriguing moments but suffers from too much long-winded talk.

Furthermore, the story never properly comes to life, sometimes uneventful, and is a tonal muddle. Indicative of trying to do too many things and it was not clear what the film was trying to be. There is not enough suspense, very little is realistic here and the comedic moments jar and come over as odd.

In conclusion, a tricky one to rate and review and just didn't gel for me. All personal opinion. 5/10

This early John Ford "talkie" (1934) crams in a lot of action and tension in just over an hour. It's the kind of classic film that could stand a good remake considering the subject matter and today's headlines in the Middle East. The plot is simple but effective. A dozen British soldiers on patrol in the Mesopotamian desert are attacked by an unseen force of Arabs. Their commanding officer is killed by a sniper and he was the only person who had knowledge of their exact location in the endless arid landscape. With no hope for reinforcements, the remaining soldiers are soon stranded on an obscure oasis and picked off one-by-one. Victor McLaglen is superb as the ranking sergeant trying to hold his dwindling force together. Boris Karloff is excellent (albeit a bit "over the top") as a religious lunatic who attempts to "convert" his comrades and the enemy to no avail. Adding to the suspense, the bewildered soldiers never see their attackers. The film's larger message regarding the utter futility of war hangs over the proceedings like a funeral shroud---but never gets in the way of the action. The surprising and shattering ending to this tale is one of the most unforgettable moments in 1930s cinema. Ford went on to make bigger pictures, but not too many were better than this one.