Hermanos ante el peligro

Midway through the war, the March of Time devoted time to a filmed panel discussion - quite a new idea, then - as to how the war was to be won. One comment was "This is a Quartermasters' war. Solve the issue of logistics and you've won the war".

That might have been the mission statement of this, very watchable, film

Partially filmed in Fort Eustis, VA in 1951-52. I was in the army, at Ft. Eustis, waiting for my shipping orders when the cast and crew arrived. Many of us were used as background. Before they left, they gave us a special screening with most of the actors attending. Jeff Chandler was there. I met one of the actresses, who was with the cast, but not in the picture. We had some nice chats; I saw her off when they departed. I was 12 when world war II started and all of the war films were in black and white. Even the news was in black and white. I feel that black and white and war go together. There is nothing pretty about war. All wars are, more or less, the same; why should the films be any different?

This is obviously a war film that will never be dated. Even after 60 years, it is fresh and relevant, because it tells about life the way it was in World War II, as experienced by people of the era, in a way that is credible.

We get a good mix of the "workmanship" of war, combined with "down time" and "deadly time". Chandler plays the officer who realizes how dangerous it is to be "lax", as one might be when 98% of your duty is simply workmanship, like driving, loading, and unloading supply trucks. It is the "unforeseeen" incident that gets you. It is being unready. It is the fluke or freak occurrence that will be deadly.

We have a star studded cast here, fairly common for old war films, but impossible for the twenty-first century, simply because of the dilution of movie making. Not that "dilution" is bad, but it's simply the fact that if everyone and his cousin is making a movie, then there are millions of actors, and thus no way for more than a few dozen to ever gain the sort of fame that hundreds of actors used to have.

The integration was splendid in this film, and believable. The white and black troopers behaved and spoke in a way that made you think they were from the mid twentieth century.

This is hard to do today. It is done today, but it is hard to sell that concept today. However, one must remember one thing in making World War II movies. If one makes it for the lingo of the era, as this film does, then it always remains true and credible. If one makes it for the lingo of 1990 or 2000, it will get a huge following for that generation, but in 80 years, it will be scoffed at by later generations, while films like "Red Ball Express" continue to stick around.

The acting is great, and the characters are great. Each character brings his own story to the screen, so we have many subplots. There are 3 major ones, each involving the major stars.

The subplots are handled well, and while the one with Chandler and Nicol is over the top, it is dramatic and theatrical, and well handled.

Chandler was the big star at the time. O'Brien is a minor mainstay, somehow always remaining a recognizable individual that is rare for leading man types. Poitier is a legend, with "Lillies", "Heat", "Dinner", and "Bedford" insuring his status. Drake will always remain a mainstay as a player of lovable rogues. This may be his best role, as he pretty much steals the show. Alex Nicol is the wild card. Films like this, "Then There Were Three", and "The Man From Laramie" will go back and forth to and from classic status, and he will be a huge name in classic film a hundred years from now. He probably never realized this while he was making "B" budget movies.

There is more to war than just the glory boys; 95% of the GIs in WW 2 (and all other wars) are never in the limelight as heroes, but they did more than their fair share of sacrifice. My father was one of those guys. He landed at Normandy, was with the infantry marching to the Hurtgen Forest, and getting overrun in the Battle of the Bulge. He was there for it all. He might not have been a hero in those battles (he was always looking for dry socks), but he was a hero to me. He and thousands of others, such as the men in The Red Ball Express, doing thankless jobs and sacrificing a lot more than just a few days lost sleep. Try driving 30 hours without sleep sometime. An underrated film, very similar to The Sorcerer, and the French film, Wages of Fear, but a bit more traditional. Good viewing.

I'd have to say that this is a very interesting war time movie. It focuses on not the battle front, but the people who were responsible for the supply line behind the battle front.

The soldiers who are mostly rejects from the battle front are assigned to the Red Ball Express the troops comprising 6000 trucks to bring food, ammunition, and fuel.

This is an innocent looking movie, but it taught me the most important lesson of my life. That everything moves on a commerce. That war is a commerce. It's the delivery of the goods to the points of consumption that is everything. Almost nothing else matters, because if soldiers and tanks didn't have ammo and gas, there's no action. Everything in this world is the same way.

This kind of organized mobility decides the outcome of the war. America had good commander to realize this, and tactical minds to put it into action. Nobody was named a hero, but Patton couldn't have done what he did without the Red Ball Express.

This makes the movie one of the most memorable of all war time movies. I really loved it.