Sahara

"Sahara" is a first-rate War film, well directed by Zoltan Korda, which qualitatively balanced its superb action sequences with penetrating character studies…

Bogart is seen as a tank commander who, when separated from his unit in the Libyan Desert, picks up a group of allied (and eventually several enemy) stragglers and heads out in search of badly needed water… Once they arrive at a nearly dry oasis, and after he learns that a motorized battalion of Germans is also after the water, Bogart decides to make a valiant stand…

Bogart's characterization is excellent as he gave what many considered to be the most realistic portrait of the truly "American" fighting man yet pictured on the screen…

Assisting in the overall success of "Sahara" was a masterful musical score by Miklos Rozsa, who did similar duty the same year in another "tank" picture, Billy Wilder's "Five Graves to Cairo."

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.

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.

One thing to know about this enduring minor classic is that it was never included in the Harvard University based eggheaded revival of Bogart films. The super-brains there only recognized Warner-Bogart movies, never those made by Columbia; even though several of Bogart's best were Columbia Pictures and African Queen and Barefoot Contessa were United Artists.

Columbia took a B-movie sized budget, a great story, excellent acting and made a classic which had a shelf-life in theaters and TV in excess of 40 years. The story was good enough to be remade as a western in 1953 called Last of the Comanchees. Two years ago, Hollywood used the same title (Sahara) to produce a huge budget color adventure movie (but with an altogether story). With unlimited resources and today's alleged high tech, Hollywood produced a mildly entertaining picture which had a shelf-life, not of 40 years, but way under 40 weeks.

The Bogart SAHARA isn't easy to find these days, but have a look on eBay or request it from Turner Classics. Timeless, it won't disappoint even after 63 years.

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.