Kanonenboot am Yangtse-Kiang

I get tired of hearing how "they don't make them like that any more," but it's hard to imagine THE SAND PEBBLES being made today. If a current movie is three hours long, you can bet it's because the director has fallen in love with himself, not because the material merits it. THE SAND PEBBLES succeeds on just about every level: It is a compelling and complex story; it is beautifully filmed; the acting is mostly excellent; and there is a tremendous score. (Can you imagine a film today having an overture? Rampant adult ADD prohibits it.) The three hours gives you time to get to know the characters, sink into the Chinese setting, and become involved in the story. Just a little thing to notice, right at the start: Watch how McQueen fiddles with his napkin in the formal dining room. He's out of place, and doesn't know what to do with it; it's the kind of physical bit that McQueen does so well to elaborate his character. Credit must also be given to the late Richard Crenna. His captain of the San Pablo is a complex and conflicted character, and Crenna, while carrying off a largely formal role, delivers a very nuanced and moving performance. THE SAND PEBBLES is a movie for grown-ups, largely forgotten today but well worth your time.

"The Sand Pebbles" was a throughly enjoyable movie. The setting was exotic and the story engaging. Though it starred Steve McQueen, who did an excellent job, its strength was the ensemble acting with a very talented cast including Richard Crenna, Richard Attenborough, Mako and Candice Bergen. The story was nicely involved and, though it portrayed the sailor's prejudices, did not feel condescending toward the Chinese as many war-type movies do. The men were caught up in the turbulent times and many of the conflicts portrayed seem to come more from troubled psyches. It is not Ramboish macho crap. I found the portrayals of the people and times entertaining. I had read the book so maybe I read more into the movie than others seeing it cold. It was a very good movie and well worth a watch.

A long, spectacular, long, good-looking, long, and well-written and long and well-acted production that puts Steve McQueen's usual insubordinate malcontent in the unusual setting of Shanghai in 1926 (and more than twenty years after 'The Purple Heart' provides a nostalgic return to the big screen by Richard Loo as a vengeful oriental).

Based on Richard McKenna's 1962 novel and reminiscent of '55 Days at Peking'. At least director Robert Wise didn't have to leave the production in a wheelchair as Nicholas Ray had on the earlier film. But after such an arduous shoot he was reluctant to be ruthless in the editing room and at over three hours the end result is almost as exhausting to watch as it was to make.

Wise later said the subplot involving Richard Attenborough and Maryat Andriane (recalling that with Red Buttons & Myoshi Umeki in 'Sayonara') was the most expendable component in the film. But it also gives the film it's heart, so fortunately it stayed.

The war movie was constantly evolving in the decades following World War Two. From Bridge on the River Kwai (1957) onwards those with a pacifist message were not uncommon. However, none were quite so harrowing or so bleak as this 1966 adaptation of the Richard McKenna novel The Sand Pebbles.

The movie follows the book closely, and as such is rich with subplot in a way that few motion pictures are. Those subplots are crucial to the impact of the whole. Time and again we are lead to believe this will be some uplifting tale of the underdogs triumphing and interracial harmony – for example Steve McQueen and Mako's working friendship or Richard Attenborough's romance with Marayat Andrienne – only to see the story take another shockingly dark turn and have all hopes dashed.

This was a pet project for producer-director Robert Wise, one he had worked hard to get off the ground and would later look back on as one of his proudest achievements. He brings it to the screen with his usual touch for flow and rhythm, with sudden shifts in tone, from frenzied action and rapid editing in another to languid long shots in another. We have on one hand the utter simplicity of the scene in which McQueen and Candice Bergen get to know each other on their steamer voyage – just two opposing shots, the river as a backdrop, the actors motionless as they speak their dialogue. Compare that to the boxing match between Mako and Simon Oakland, a quick-fire bout of agonising close-ups of contenders and crowd. The differences are not simply a case of editing and movement, but also the amount of business in the background, the distance the camera is from the action, and sometimes even the lighting and colour. And Wise doesn't call attention to the changes with sudden jolts – tension is built up gradually before giving way to scenes more tranquil.

Of particular note here is the set decoration. Of course, the story necessarily takes place in a series of small and squalid spaces – the bowels of the ship where McQueen works, the brothel where the men spend their shore leave – but it is the incredible production design by Boris Leven that makes it all so desolate. The interiors have rough, grey walls and small dirty windows, even the small chapel where the wedding takes place, which in spite of the scene has to be one of the most depressing sets ever made.

Tough action heroes like Steve McQueen may achieve stardom but they aren't normally praised for their acting skills. However The Sand Pebbles brings out something very deep in McQueen. He seems totally in tune with the picture's moodiness, bringing a lot of wordless emotion to his laconic character. At one point he breaks down in tears while shovelling coal; the camera is to his back but the moment is all as it should be in his body language. Another great but often overlooked player here is Simon Oakland. Oakland was great when you needed a small part with a lot of impact (see him at the end of Psycho for example) and was often a levelheaded authority figure. Less often was he cast as the bully, but he makes a decent job of it, being both threatening and repugnant. I'm less enthusiastic about Richard Attenborough's performance. For one thing he isn't right for the uniform – he looks like a little boy in a sailor suit – and for another he isn't right for the American accent, unless he was doing it as some kind of cultural revenge for Dick van Dyke's appalling attempt at being a cockney in Mary Poppins.

The Sand Pebbles is undoubtedly one of bleakest war movies ever made, but what is so different about it is not its anti-imperialist stance or even its downbeat mood. It is the fact that the US forces are shown to lose control of the situation. It was one of the great ironies with anti-war films like Apocalypse Now and Full Metal Jacket that apparently some youngsters were actually inspired to join the marines after seeing them. However I cannot imagine The Sand Pebbles having anyone rushing down to their nearest Navy recruitment office. Even though it does not exactly condemn servicemen or even the armed forces, it makes armed service look about as glamorous as cleaning a sewer. And rather than portraying the Americans as a conquering force – for good or bad – it shows them as lost, isolated and overwhelmed. There will be no cavalry riding to the rescue this time. And it creates this impression without ever losing respect for its principle characters, whom we are lead to pity rather than condemn. It shows war not as hell or as mass murder, but as bitter human tragedy.

Steve McQueen was known for many things-- action films, fast cars, motorcycles, a charismatic presence (on screen and off), and his true `tough guy' persona. But with this film, another description moves to the top of that list: Actor. Anyone who doubts what a great actor McQueen was need only watch this film, because his performance here as Jake Holman is simply as good as it gets. `The Sand Pebbles, ` directed by Robert Wise, is the story of Holman, a sailor assigned to the U.S. Gunboat, `San Pablo,' stationed on the Yangtze River in China in 1926 (the sailors aboard are known as `sand pebbles'). It's primary function is to patrol the river and thereby establish an American presence in China, a country currently experiencing a period of political unrest and impending upheaval. It's a new assignment for Holman, and it suits him just fine; his job is to keep the ship's engines up and running, and because of the size of the ship, he's the only engineer-- it's just Jake and his engine. And that's the way he likes it. Holman is a loner by nature, and something of an iconoclast. At one point, when he is asked his opinion of American Foreign Policy and their presence in China, he simply says, `I don't mess with it. It's all look-see-pidgin, somethin' for the officers.'

Eventually, however, Holman is nevertheless drawn into the conflict through a series of events that impact him beyond all personal resistance, the most significant being when American lives are threatened throughout China, and Holman and a landing party are sent ashore to protect and escort some missionaries back to the safety of the San Pablo. But at the mission, Holman discovers a way of life, the likes of which he's never known, and for the first time ever, he realizes a sense of belonging. And he likes it. For Holman, however, it may be too late; the political turmoil throughout the country has put the lives of everyone at the mission in peril, including a young missionary named Shirley Eckert (Candice Bergen), with whom Holman has made a connection he simply cannot dispel; for in Shirley, he discerns an innocence and a goodness that compels him, and in which he finds a welcome sense of fulfillment. So what began as a routine mission becomes a salient point in Holman's life, and he is faced with the most important decision he's ever had to make.

This is the one for which McQueen should have won an Oscar. As Holman, he demonstrates an emotional range and depth that runs the gamut from almost boyish naivete to a world weary veteran of life who has seen and heard it all. Utterly convincing, he can say more with a slight incline of his head, a slow blink or shifting of his eyes than most actors could say with reams of dialogue at their disposal. He communicates with so much more than words, and there's meaning in everything he says and does-- he never wastes a line or a single moment. What he does with this role is magnificent; it's the definitive McQueen performance. His Holman is the personification of the loner, and in creating him he delivers something few actors could ever equal: He's tough, convincing and charming-- all at the same time. And he should've taken home The Statue for it.

As Collins, the Captain of the San Pablo, Richard Crenna gives one of his finest performances, as well, and it cemented his transition from television actor to a career on the big screen. After this, there was no going back. His portrayal of the somber, introspective Captain is riveting, and in him you readily perceive Collins' sense of duty and honor, as well as his overwhelming sense of futility and failure. And the urgency with which he grasps his chance for redemption, even in the face of insurmountable odds, is entirely believable as it is consistent with the character he has created.

The superlative supporting cast includes Richard Attenborough (Frenchy), Emmanuelle Arsan (Maily), Mako (Po-han), Larry Gates (Jameson), Charles Robinson (Bordelles), Simon Oakland (Stawski), Ford Rainey (Harris), Joe Turkel (Bronson) and Gavin MacLeod (Crosley). A powerful drama, extremely well crafted and presented by Wise, `The Sand Pebbles' is a great and memorable film that will forever stand as the pinnacle of McQueen's successful career. Jake Holman is a character you will never forget, because there is something of him-- that wistful longing to belong, perhaps-- in all of us. A timeless classic among classics, this is one of the greatest motion pictures of all time, and is by definition, the magic of the movies. I rate this one 10/10.