Cast a Giant Shadow

This was made in an era when just about every household had a television and Hollywood doesn't tolerate competition and needed to bring out its big guns . Those howitzers would be big name stars and epic storytelling . Unfortunately by this time this type of film would be dying out and a year later BONNIE AND CLYDE arrived on the scene which changed Hollywood film making with relatively unknown actors starring in smaller scale films that had a dubious morality to them so a film like CAST A GIANT SHADOW would have become relatively dated very quickly by the end of the decade

On its own merits it isn't a bad film though it's certainly not a very good one either . The problem is that " Epic " is often a euphemism for " bloated " , therefore we get to see the main protagonists war experience and family life . Why do we have to see all this ? one can speculate that the war sequences is an excuse to shoehorn John Wayne in to the film that'll appeal to all the manly men in the audience and the family life of the protagonist will get women flocking in to the cinema . It also has the unnecessary addition of Frank Sinatra which like Wayne seems to be included to give box office appeal

It's not just the lack of brevity that's the flaw but the sometimes embellishment to the story that doesn't do it any favours . Some other commentators have gone in to detail so I won't dwell to much upon it but one noticeable aspect is that the Israelis in 1948 are portrayed to being total strangers to war which isn't in any way true . The British Army had a Jewish brigade which served in Italy during the war and were engaged in some very tough fighting in 1944 . Likewise Palmach and Haganah members would have had military experience fighting against Arabs in the Special Night Squads during the Arab revolts of 1938-39 and wouldn't be the inexperienced military virgins as seen here . Sadly the film doesn't make the point that the Irgun and Stern Gang were the purveyors of modern day terrorism that EOKA , the Provisional IRA and many other terrorist organisations modelled themselves upon until Al Quada took terrorism to new depths , but if you've got a Hollywood movie and it contains Brits as an occupying power then it's easy to turn a blind eye , but to be fair it points out it's better to be occupied by the British than the French

That said the Brits aren't full blown villains and the American view of Israelis is I imagine not as black and white as it would be today regardless of your politics . In 1948 the American State Department was very suspicious about Israel since many of its inhabitants were from Eastern European countries and Eastern European equalled communist in American eyes with Zionist support for the country confined to a small American Jewish lobby . The film does touch upon the fact that the fledgling Jewish state obtained its weapons from the international black market rather than being supplied by America with America realising that the Arab lands contain an awful lot of oil so best not to annoy them . It should be remembered that the first arms supply from America to Israel didn't happen till 1965 and the often overstated influence America has over the Israeli state wouldn't have existed when this film was released

In summary CAST A GIANT SHADOW is a relatively entertaining yarn but it's a melodramatic Hollywood movie using big names to make money for the studio . If you're interested in finding out the proper history of the creation of Israel it's a much better idea to read a book on the subject with the only problem trying to find a totally unbiased book on the subject

I thought some of the battle scenes in the picture were very good, especially the battle in which the Israelis attack the fort held by the very professional Jordanians and are defeated, the shot where wave after wave of attackers emerge from the standing wheat was very well done.

For what it's worth most of the weapons were realistic, the Jordanians were equipped with the proper British arms; SMLEs and Vickers and Bren guns. I'd liked to have seen Glubb Pasha.

The story goes back and forth between sappy and inspired. The scene where the Israelis declare their independence brought tears to my eyes but I'm notorious for the manly tear.

The movie deals upon the birth of State of Israel . It's based on real deeds . Here David , ¨Mickey¨ , Marcus (Kirk Douglas) , an American Jew and general of the WW2 who helps the Jewish to build the State of Israel . There are various flashbacks remembering exploits of Marcus during second world War . After that , he goes to Israel and he commands the troops . Marcus formed an Israel's formidable army to fight during the 1947-1948 struggle for Independence . Mickey is in every military action , culminating in a dangerous mission through a risked pass to arrive in Jerusalem .

¨Cast a giant shadow¨ follows the fabulous career of Col. Mickey , he is Kirk Douglas who does a first-rate acting as the daredevil Israeli commandant . John Wayne plays as an American general , he is excellent , as always . Yul Brynner is a Jewish colonel who has the command of the army that will defeat the Arabs . There's a warmly glowing portrait of a woman warrior from Senta Berger . And Luther Adler gives an awesome acting as Ben Gurion . The ending with its spontaneous sentiment on the people when takes place the Independence declaration is the most moving moment in the movie .

The music from Elmer Bernstein is impressive and cinematography by the Italian Aldo Tonti is magnificent. The flick will appeal to history buffs . This propaganda motion picture was well directed by Mellville Shavelson . Rating : Acceptable and passable , well worth watching. Rating 6.5/10

Earnest, well-mounted but essentially dreary epic about the real-life involvement of an American Jew in the post-war struggle for Israel's independence – thus sharing its theme with EXODUS (1960), and clearly aiming (but failing) for a "Marcus Of Israel" feel!

Kirk Douglas stars as Mickey Marcus – perhaps chosen due to the character's similarities to another historical figure forced by circumstances into leadership, Spartacus, whom Douglas had portrayed in 1960. He's supported by an eclectic cast which includes Angie Dickinson as his neglected(!) wife, Senta Berger as the Israeli girl he falls for, Topol as an ill-tempered Arab sheik, Luther Adler as a local politician, a plethora of reliable British character actors – and even guest appearances by Frank Sinatra (which doesn't amount to much), a glum Yul Brynner as a fellow freedom fighter, and John Wayne as a U.S. General whom Douglas initially falls foul of but the two eventually end up respecting one another (still, seeing Wayne at the liberation of the Dachau concentration camp is about as incongruous as his stint playing the Roman Centurion at Christ's crucifixion in THE GREATEST STORY EVER TOLD [1965]!).

Despite a sharp script and good individual sequences, the film is compromised by its necessity to be both a spectacle and a message picture (the WWII flashbacks, for instance, are unnecessary and merely render the film overlong); unsurprisingly, it works best during the action highlights (complemented by a typically fine Elmer Bernstein score). Apparently, the events have been partially fictionalized – I wonder whether these embellishments concerned the romantic complications and the Hollywood-style ironic ending. For the record, Shavelson had started out as a scriptwriter (and later director) of Bob Hope and Danny Kaye vehicles; this was his most serious effort – a brave try, but not quite the 'giant' film he clearly intended...

1947. An American Army officer, Colonel David 'Mickey' Marcus, is offered an advisory role with the Israeli Defence Force. Israel is about to gain its independence from Britain and faces overwhelming odds as it faces powerful enemies on all sides.

A good story, largely based on historic events. Covers the formation of the state of Israel and its initial military struggles against massive odds.

However, doesn't cover the events in much depth though. Much time is wasted on sub-plots, almost all of which add nothing to the story.

These sub-plots, especially the romantic angle with Marcus and Magda Simon, not only use up film time that could have been better spent, but make the film quite clumsy. So many contrivances and Hollywoodisms. Just about every piece of dialogue seems written as a soundbite, a one-line zinger. It all just seems so cheesy.