Sahara

The great thing when Sahara opens is Bogart's relationship with his tank. Maybe he's been in the desert too long! But he's fairly explicit in his attitude, and can't talk about his tank without likening it to a girlfriend. He says that that the sound it makes is sweeter than anything any woman can say. Five minutes later he runs into an uppity British officer in the dunes, who disparages his tank - and Bogart gets quite upset. In one of his few displays of aggression in the film Bogart defends his tank's honour. The others fight for their causes – yes – but the only bait Bogart will rise to is another man disrespecting his Lady Tank.

Meanwhile there is a play of nations going on around Bogart. The Nazi is arrogant and won't be touched by the Sudanese. There is a vengeful little Frenchman and a comic Italian for pathos (his name is even Guiseppe). The British display constant pluck. Now the tank is carrying so many men, that it has become a mother figure, and 45 minutes in it's already "old girl".

It's a greatly entertaining film, and it's fun watching Bogart negotiate, strong arm and wisecrack his way to glory. I think Bogart served the Allies just fine by shooting not overly propagandist movies like this. The ghostly German army, struggling forward for thirst, is a great image to finish on.

"Sahara" is interesting from several standpoints. First, it is an excellent drama, well acted and directed, with good production values. Second, it raises an interesting moral question. Third, it has implications regarding the main actor and his future movie career.

"Sahara," the story of a rag-tag group of soldiers fleeing from Rommel's Afrika Korps in a US tank, is enjoyable throughout. The cast is fine, representing a number of nationalities and even races. I think this is one of Bogart's better acting jobs, and J. Carrol Naish, Lloyd Bridges, Rex Ingram, Dan Duryea, and the others are equally good.

While this may be a propaganda film, it is no "our hero wipes out an enemy division without a scratch" potboiler. On the contrary, the decision made by Sgt. Joe Gunn (Bogart) to stay and fight a German regiment rather than heading for British lines is a desperate gamble little better than a suicide mission. This brings up my second point; the ethical question.

St. Gunn gets the idea to stay at the oasis they have reached in order to fight and delay a German regiment in hopes that such a sacrifice may help the Allied cause. He must convince the others, and one or two do not go along without some persuading. "I don't mind fighting and dying," one says, "but this is pointless." Well, that's the issue. How easy it is to find reasons NOT to stay behind and fight! Makes me appreciate the plight of our soldiers on Bataan and Wake Island, who had no choice. But this little band does stay and fight, and the story hangs on their decision.

My third point is a bit arcane, and has to do with Hollywood business practices of the 1940s. Bogart was, when this movie started production, about the biggest star in Hollywood. Remember, he had already made High Sierra," "The Maltese Falcon," and "Casablanca." Why then, did Warner Brothers lend him out to Columbia to do this picture? Columbia was still barely a second rank studio. What did they have to trade in return? Rita Hayworth? I don't think she made any films for Warners, but I may be wrong.

Lastly, it's interesting to note that Bogart, when he started his own company (Santana Productions) in the late 40s, signed a releasing deal with Columbia. I guess he must have been impressed with Columbia while making this picture, as well as "Dead Reckoning" (1947).

I strongly recommend "Sahara" to anyone who has not seen it. It's exciting action combined with interesting characterizations.

This Zoltan Korda-John Howard Lawson World War II curio is at times a superb war film, with fine pace, excellent location photography and some excellent, unflashy acting. It is a story in the tradition of The Lost Patrol, as experienced U.S. Sgt. Humphrey Bogart, in a tank, helps a motley crew of soldiers, mostly British, in search of either their unit, safety or water, whichever comes first. They wind up at a desert fort and are eventually attacked by a German regiment that is also desperate and thirsty, and some exciting action scenes of fighting and exhausted men are the result.

Bogart is his usual charismatic self in the lead, and the supporting cast is nearly as good, especially Bruce Bennett and J. Carrol Naish; the former is quiet and dignified, as was his custom, the latter typically flamboyant, but this time his florid acting is appropriate. Overall I like this movie a lot. Like all the best war films, it focuses on seemingly small things, such as well that has gone dry (or has it?), the glaring sun, the little stories of home life,--for once not corny. There is a black African solider who is treated as an equal, and well-acted by Rex Ingram. Now and again, though, the movie turns preachy, as a certain internationalist tendentiousness creeps in, which, even if one finds its agreeable, detracts somewhat from the exciting story and makes it at times feel like a tract on the need for cooperation among nations.

Excellent WW2 film about a small group of soldiers fighting off Nazis in the Sahara desert. Humphrey Bogart plays an American tank commander who, along with his crew, picks up several Allied soldiers and a couple of Axis prisoners. Eventually they find water in a well by the ruins of an old fort. When the Nazis come looking for the same well, the soldiers have to decide whether to run or fight.

Terrific cast backing up Bogie. Special mention for Rex Ingram, J. Carrol Naish, and Bruce Bennett. Solid script and direction. Nicely photographed by Rudolph Maté with a good Miklós Rózsa score. Humphrey Bogart starred in some great WW2 movies. Most of them were made for Warner Bros. but this one was made at Columbia. I think this is the best WW2 movie they put out and it's on par with anything made at the other studios. A strong dramatic film with great characters and exciting action. One Bogie fans won't want to pass up.

Bogart does well as an American tank commander early in WW II coming across some retreating British infantry. They later make a dramatic last stand against the attacking Germans.

Two actors make this movie a standout. J. Carroll Naish was of Irish descent, and he never played an Irishman in his long and great career as an actor. Check his movies and look for his great performances. Here he is magnificent as a tormented and disillusioned Italian prisoner (a German ally) who has to fianlly decide if he'll fight with the Germans or stand with the Allies, who could have let him die in the desert.

Rex Ingram was a fine black actor who here plays a Sudanese soldier in British colonial service. The depiction of a heroic black soldier was rare during World War Two (see my review of "Bataan"). He too was memorable. It's a fine film and worth catching whenever you can find it.