Keinen Groschen für die Ewigkeit

People keep comparing this film with "A Fairwell To Arms" (1932). If that is true, then it can also be seen as a stepping stone to "The Americanization of Emily" (1964) — highlighting how changing American attitudes toward war have become gradually more cynical.

Seems like the "Emily" team — writers and director — might have been influenced by Sgt. Joe 'Pete' Peterson (Holden character), transposing Garner's Charlie Madison to be an updated version of same. 1932 > 1951 > 1964.

All three successfully integrate Romance and War, ably supporting the theme that Love is the stronger force. So why do we keep on making war?

Directed by Michael Curtiz (Casablanca) with music by the great Max Steiner (King Kong, Gone With The Wind, Casablanca, Treasure of the Sierra Madre) The script crackles with great dialogue, William Holden is the best I've ever seen him, Nancy Olson is able to deliver the most romantic lines with real emotional honesty--not an easy thing to do. The idea here is a kind of bleak existential gallows humor mixed with a deeply felt love story. It also brings up PTSD. All the actors are at their best and believable. The photography mixes real combat footage well.The war attitude is soldiers wanting to do a job because they feel a responsibility to their brothers-in-arms and their loved ones back home. It's a real gem and I'll never forget it.

I wasn't sure what to make of this at first since I had never heard of the movie before I saw it on Turner recently, but almost right off the bat this earnest war/romance drama shows it's mettle.

William Holden is a GI on a short leave in Naples during the Allied advance up Italy. He meets WAC Nancy Olson , and after a short resistance on her part they fall in love , more or less at first sight. I liked the dialog between the two of them during this 'courtship' , it is well written and though Holden plays the wisecracker he so often did in his roles, it seems natural in these scenes.

The rest of the film tracks their time in Italy, together and apart, as Holden returns to the front and faces the need to prove his courage and cool under fire.

The thing that made this movie stand out is the treatment of a war time in service romance that is neither played for laughs or pathos. It is slightly melodramatic at times, but appropriately so for the material.

One of the better films of this type I have seen.

It would be easy to pass off Force of Arms as just another post-WWII action/romance movie until you're a few frames into viewing it. Surprisingly realistic with actual combat footage interspersed with filming. Strong yet sensitively-understated performances by Holden, Olson, and, in a supporting role, Frank Lovejoy. An inspired and superior script helps convey the chaos of combat, its effects on those who are scarred by it, and the powerful force of love that can somehow emerge in the midst of the sheer will to survive. A classic that feels as real in 2017 as when it was filmed.

Just caught it on Turner. The reviews calling it "routine" show how dull-normal some people are. In fact, the old pro Michael Curtiz (look him up) brings an extraordinary sensibility to the film. Gone are his romantic stylings of Casablanca and Robin Hood, his lush, overdone Warner's agreeable foolishness. Instead, he portrays war as bitter and without glory, full of random death and meaningless violence. The three combat sequences are superb, and Holden, as he would later demonstrate in "Bridge on the River K" is brilliant as a reluctant soldier who has no sense of glory and no wish to be a hero, but is nevertheless the everyman Infantryman, who knows he must do his duty. Curtiz doesn't turn this evocation of battle into boy's fantasy; it's hard, bitter, terrifying and brutally unfair to children and especially young American men who never thought they'd be dying in the slopes of Mt. Casino. The romance is nicely done, even if the ending is trite (but, in the way that cheap melody can be, amazingly satisfying). Olsen and Holden have great chem (as they proved in three other films as well) and all in all, the whole piece is kept in a register of near-realism that's very affecting. A neglected minor gem from the great Curtiz.