Les sacrifiés

One reveiwer critices this film about lack of action he misses the point,all the characters are well developed which makes the ending so painfull. The acting is first rate every part is played with a great belief,,there are so many great scenes that touch the heart.The men are bonded together by their actions and when the bonds are broken through death or orders it hurts us all. Donna Reed is gorgeous to look at ,only a small role but well acted. At the end of the film you feel a lump in your throat and a tear forms in your eye,I love this movie.9/10

Wayne and Ford at their peak.

Somehow I missed this film until a few years ago on a cable movie channel. Growing up with WWII as the dominant theme of modern history and an appreciation of the older film stars, this film is without question the most realistic in terms of the message and of just passed events with superb performances in the old morality style of the 40's.

The old Navy, surviving in the Asiatic backwater where promotions could take years, bears the brunt of the onslaught of total war for America. A heroic tragedy of holding the line to bide time for the Nation to recover.

A story for all time, the greatest war movie of all time. No matter how large the budget and digital special effects, they will never capture the texture and feel of this film. The dying of the old Navy from Yangtze to Cavite with gutsy sailors like "Boats" living hard in the backwater paradise of the Pacific on $20 a month.

The tragedy of continuing defeat, overwhelming catastrophic events, the ill prepared Nation, the dying of the old Navy, all combine to make this film, made with event still fresh in the actors and film makers minds, a statement of that war and of the heroes which the audience knew first hand. It says, we knew these men and boys and they were as fine a heroes this country has ever produced and they will live larger than life for as long as this film exists.

Stirring WWII film, directed by John Ford, about the contributions of the Navy torpedo boat squadron to the war effort. In addition to the action and wartime heroics, there are subplots about the rivalry between Navy lieutenant Robert Montgomery and frustrated subordinate John Wayne, and a romance that blossoms between Wayne and nurse Donna Reed.

Montgomery, a gleeful ham when the role calls for it, offers one of his most subtle and successful performances as the sober squadron commander. Wayne does a great job, as well, playing a character with more layers to him than just a gung-ho war hero. His character is brave, to be sure, but he's also ambitious to rise in rank and a little petulant. Not attributes one immediately thinks of when they think John Wayne. Reed is lovely and charming as ever.

It's a little overlong, as many movies over two hours seem to be (then and especially now), but Ford makes the most of it and it never feels padded. Definitely worth a look for Ford and Wayne fans, or anyone who enjoys World War II films. It's one of the best.

This is one of John Ford's best. There is a factoid circulating that this film, released in 1945 when we were about to end the war, was a flop because no one wanted to hear about a defeat in the Philippines, but Tad Gallagher's research shows this not to be true. It was a success, and for good reason.

It's got about everything you'd expect in a war movie released during that year, and it's finely done. Beginning with the photography and location shooting, in which Florida provides a first-rate substitute for the Philippines. No bravura acting is apparent, and none is called for. Montgomery is stolid as the squadron commander. Wayne, as his exec, follows orders competently and even is rather moving when he recites Robert Louis Stevenson's epitaph during a funeral scene, foreshadowing his famous scene when he's given the gold watch in "She Wore a Yellow Ribbon." Marshall Thompson plays an inexperienced new man, not for the last time. Ward Bond is a hearty boatswain's mate. Donna Reed, looking enchanting, is Wayne's aborted love interest. She doesn't have much screen time, but good use is made of what she has, and after all, it's hard to bang a full-blown romance into this kind of film.

It's pretty downbeat for Ford, when you come right down to it. One after another the "cardboard boxes" that, along with a handful of submarines, constituted MacArthur's navy are lost. Blown-up, wrecked, requisitioned by the Army, or just disappeared. The editing is fine too. Wayne's 34 boat is strafed and damaged by Japanese airplanes and he manages to beach it in a deserted area. He and his men struggle ashore through the surf. The planes return and they bomb it and strafe it until it erupts in flame, sending a geyser of seawater into the air. As Wayne emerges from cover there is a shot of him staring bleakly at his burning boat, then the seawater cascades over his figure forming a black-and-white rainbow as it does so. The eruption of water and its finally falling on Wayne's figure couldn't have been better times if a stopwatch had been used, a fine example of technical expertise.

Made as it was during the war years, it couldn't be more realistic than it is. Sometimes this is a weakness, due not to Ford and his crew but to the strictures of the time. The MTBs were glamorous duty. They were developed during WWI, when ships were mainly designed to be big enough to outshoot other big ships, and torpedoes hadn't proved themselves. Well, they did during the first war, delivered by torpedo boats that were small and fast and could duck under the big guns to deliver their weapons. (The destroyer was originally meant to be a "torpedo boat destroyer.") In WWII they served in every theater and were valuable assets. But they weren't suitable for blue-water work and were mostly used in sheltered waters. "They Were Expendable" shows them attacking under fire at high speed, in some very exciting shots. In real life, as Richard Tregaskis has reported, the engines delivered about 40 knots when new -- fast, but not that fast. A bit faster than a new destroyer, about the same speed as a torpedo. But under conditions in which maintenance was difficult or impossible, as they were here, the efficiency of the engines dropped and so did the boat's speed. The usual technique was not to attack at full speed with flags flying, but to sneak up as quietly as possible on an enemy ship, launch the torpedoes, then get out quickly. Also the torpedoes malfunctioned frequently, and the launching mechanism used gunpowder which flashed when ignited and revealed the boat's position. By the end of the war the boats had reverted to a more primitive system in which the weapons were simply dumped overboard. But that has nothing to do with the movie except that these observations reveal the major action scenes to be what Gallagher calls a boy's matinee program. It didn't happen that way.

Nevertheless, this is an honest movie. We lose, although we've done the best we can. And one of our boys can't kill a dozen of their boys. And you can tell Ford is behind the camera. Lots of booze. A reverence for authority. (MacArthur, whom his biographer, William Manchester, called "a remarkable man", is seen only from a distance, kind of like a spiritual vision seen in the clouds. MacArthur's complexity couldn't be dealt with, and shouldn't have been.)

It's a well-done film, thoughtful and exciting. The enemy aren't referred to as Nips, nobody calls them names or tries to explain their motives. Hemingway may have enjoyed it if he ever saw it because it is a very nice illustration of "grace under pressure." See it if you can.

This is a memorable war film. Unlike other war films which depict glamorous battles, brutal campaigns and heroic exploits, this film focuses on average sailors who are merely doing a job. This often touching story is sandwiched around the real life escape of General and Mrs. McArthur from Corregidor at the beginning of World War II. The film does a good job portraying the collapse of American and Fillipino resistance in late 1941 and early 1942. The war is going badly, and this film does not try to sugar coat it. General Martin's character (played by Jack Holt) articulates this well at the end of the film. "The end is near here", he says.

John Wayne plays Rusty, a somewhat disgruntled officer who is unhappy about serving on a patrol torpedo (PT) boat. "Plywood dreams", he calls them in one scene. The fortunes of war intervene and Rusty and his comrades must fight the invading Japanese. Wayne's performance is memorable here, because it is uncharacteristic of his work. Wayne is not the macho heroic fighter that we see in most of his other war films. Here he is a professional sailor doing his job the best he knows how. At the end he predictably tries to be a hero, but star Robert Montgomery polites reminds him that there are other priorities. "Who are you fighting for", he asks. Wayne's character has depth. Uncharacteristically for Wayne he is even a little unsure of himself at times. This is particularly evident in his relationship with the young nurse played by Donna Reed. This is a different Wayne.

Robert Montgomery's performance as the commander of the squadron is also first rate. Like Wayne he is a professional who wants to do his job. The burden of command falls on him as he begs, cajoles and even blackmails fellow sailors to put his PT's in the war. Montgomery's performance is understated, credible and moving. It may be his best work.

This film is a collection of images. The destruction at Subic Bay in a Japanese air strike comes the closest to graphic violence of any scene in the movie. Instead of bodies, we see fires, smoke, debris and the faces of dazed servicemen and civilians. In another scene Wayne and Montgomery stand on a long dock stretching out into an empty inlet. "Are you looking for the Arizona, too," Rusty asks. The scenes depicting the escape of the McArthur's are well staged and realistic. The scenes of the defeated American army retreating on Mindanao show graphically that the war is not going well. The last image in the film with the last American plane to leave the Phillipines flying over a tropical beach at sunset is one of the most memorable in any war film. The words "I shall return" which appear on the screen are trite and unnecessary. Director John Ford has created a collage of memorable images here.

This film is slow paced for a war film, but it works. There is sufficient action, but there are interludes of peace and tranquility. There is a candlelight dinner for Rusty and his girl. There are a few moments near the end in a bar. In another scene Wayne visits with an elderly shipwright. The journey with the McArthurs provides another appropriate interlude in the middle of the film. There are even light moments interspersed. In one of these Marshal Thompson is inspecting the galley and asks derisively "What kind of soup is this?" When told it's not soup but dishwater he goes quickly to his next stop.

This is a simple story of fighting men doing a job that isn't considered particularly important. John Ford's excellent direction turns these mundane moments into one of the most memorable war films ever. Star Robert Montgomery even had a chance to direct in this film when Ford was injured in a fall. I liked this film and would recommend it without reservations.