Infierno en el Pacífico

During the Second World War, on a small, inhospitable island somewhere in the Pacific Ocean, two men are stranded. One is an American Pilot, the other a Japanese Naval Captain. When they become aware of each other's presence, their military training kicks in, and the two begin to battle. However, it soon becomes painfully clear that neither man will survive the island without the other's help. Whether or not they are able to set aside their differences and work together, or destroy one another for the glory of their nation, remains to be seen in John Boorman's powerful anti-war allegory, 'Hell in the Pacific.'

Boorman's third feature film, 'Hell in the Pacific' tells a relatively simple tale- arch-enemies forced to unite under circumstances beyond their control- in an astute and subtle manner. It is a quiet movie featuring characters given to introspection- often there is very little dialogue. A lot is said in that silence however, through the striking visuals, with the thick atmosphere, and by the presence and physicality of stars Lee Marvin and Toshiro Mifune. There are moments of levity, and it's a very suspenseful watch; but at its heart 'Hell in the Pacific' is a barbed treatise.

Through the understated story- written by Reuben Bercovitch, Alexander Jacobs, Eric Bercovici and Shinobu Hashimoto- a clear, humane message about the indignities and pointlessness of war emerges, and no side is given preferential treatment, no bias is injected into the screenplay. 'Hell in the Pacific' is a masterful war film- or anti-war film, one should say. For that is the crux of the narrative and the center of the allegory that 'Hell in the Pacific' is: war is hell, and there's no war when rivals unify; an aphorism bordering on the trite, but one that is apt nevertheless.

A highly visual experience, 'Hell in the Pacific' features fine, striking cinematography from Conrad Hall. Hall's work lends to the film something of a dream-like atmosphere, though is still firmly rooted in the naturalistic tradition. It is dramatic camera-work that lingers in the memory long after the film has ended. Boorman's films are always visually stimulating affairs, and 'Hell in the Pacific' ranks as one of his most rich, stylish and gritty.

Thomas Stanford's editing is sharp, establishing the film's pace, which is steady and smooth; though not overly brisk or without moments of sedation. Many critique the unexpected abruptness of the ending, but it is in keeping with the tone and themes the film tries to explore. Lalo Schifrin's muted, melodic score contributes to this tone, bringing to the film additional beauty, as well as additional devastation and impact.

'Hell in the Pacific'- for all of the merits listed above- could easily have faltered had casting gone in a different direction. Thankfully, Marvin and Mifune were secured, and deliver performances of incredible intensity, humor and depth. Marvin is too often remembered as an action star or a heavy, when in reality his talents extended far beyond that. He brought a charm and sense of purpose to every role he played, as well as an ease of performance that makes him mesmerizing on screen. His performance in 'Hell in the Pacific' is up there with his equally powerful one in 'Monte Walsh'; work of extreme emotional perspicuity that is most underrated.

Any film fan knows of the immeasurable talents of Toshiro Mifune. He could play any kind of character: drunkards, gangsters, fools- all with Shakespearean intensity. He also possessed masterful comedic timing, as well as being one of the most skillful expressionistic figures to ever grace the cinema screen. His performance in 'Hell in the Pacific' is understated, captivating and powerful; probably the best he ever gave in a production outside of Japan. He and Marvin share an electric chemistry that makes watching them on screen a real pleasure.

'Hell in the Pacific' is a masterful movie, a subtle story told with verve and intelligence. Deftly directed by John Boorman, beautiful in terms of visuals and featuring a fine Lalo Schifrin score, the film is utterly unforgettable. Lee Marvin and Toshiro Mifune deliver two brilliant performances that are highlights in both their careers. Hard-hitting and containing allegorical depth; there are few anti-war films as impactful. In short, 'Hell in the Pacific' is heaven in the cinema.

Isolation in extreme conditions allows for very telling studies of human beings, and potentially unpleasant philosophical conclusions. Marooning a character on an island will get you some dramatic results, and the only way to take it a step further is to maroon that character's worst possible enemy with him. That's what Hell in The Pacific proposes.

This is not Cast Away Meets WWII. For one thing, it has a much tighter focus, completely losing anything beyond the island's horizon. It is admirable in its bloody-minded focus, and, with only two actors to cast, it's hard to imagine how it could have been any more perfect that pitching wild-man extraordinaire Lee Marvin opposite Kurosawa favorite Toshiro Mifune. A genius idea, but one that could have failed with a more conventional approach.

We are introduced to both antagonists in a neutral way, free to prefer which ever one we choose, though that is hardly the point, and director John Boorman makes it both easy and at times hard to sympathise with either in equal measure. Both actors do a fine job, playing mostly emotional and physical roles with great restrain and intelligence.

Boorman's direction is perfect, rejecting excess stylization in favor of a subtle approach, aided by superb photography. You have got to see this at least once, simply because, for all its visceral thrills, it is quite profound without ever trying to be. Because it boasts top performances from two of the last century's greatest leading presences in action cinema. Because, though frustrating at first, the ending is, for once, the smartest one that could have been chosen. Humanity is on trial and the judges choose to be honest and pragmatic, thus delivering something that combines greatness and very thoughtful substance.

We need more films like this!

A Japanese naval officer and an American pilot find themselves stranded alone on a desert island during WWII. How would you react to being marooned with a dangerous enemy? This film is an obscure treasure that should be better known. I suspect that people are put off by the cheesy and unsuitable title. The film explores the evolving relationship of two men from different cultures as they each struggle to find the best way to survive. Their collective fate is an exploration of the human condition.

One outstanding feature of this film is that it is in both Japanese and English, intentionally without sub-titles. An American or Japanese audience could watch this film and appreciate its message. This duality serves to heighten the cultural differences between the two men, and it is cultural bias that is the true enemy.

Buy it, it's a keeper!

Not only is this film a fascinating account of survival against odds, its a reflection of cultural differences within a crucial historical timeframe. Its narrative may be flawed, a little too stylized, but it features two of the greatest faces of 60s cinema history: Marvin and Mifune. Looking back on the second world war, it seems ironic that the Japanese believed their culture was superior in warfare, and the Americans believed theirs was superior for peace. In the end it will turn out to be the other way around. This film touches on that subject, highlighting Marvins aggressive, loud, and brutal behavior, and Mifunes quieter, more methodical survival methods. But in their battle to survive, the two men become almost indistinguishable. The most touching scene in the film: Both men collapsed in their sinking raft, dejected, exhausted, dehydrated, totally at their mercy of nature, a symbolic scene for human life. The DVD i saw contained both endings, the original, never seen in TV prints, much more believable and satisfying.

Strangely if you watch this on Blu Ray the director's ending is the 'alternate' ending. Somehow the producers altered this upon the film's release and their edit became the standard ending. Does the last 1-2 minutes impact the film that much? I would say it's a 7/10 film with the director's ending, and at best a 6/10 film with the butchered producer's ending. The producer-altered theater released ending is a head-scratching, mind-boggling catastrophe and unsatisfying to say the least. You will literally sit there saying to yourself "uh... what???" for 30 seconds when the film concludes. I even rewound it to see if I completely missed something. I did not. Yes, there is that much of a difference and impact on quality between the two endings.

If you are one of the producers responsible for this theatrical release ending and are somehow still alive and reading this I can only ask WTF were you smoking? We invested two hours into the relationship between Marvin & Mifune for that??? It may be the worst ending I've ever witnessed in a decent movie. On the bright side for you, I may keep the blu ray for that reason alone!