Le cirque infernal

This is an interesting movie. It's not the best war movie you'll ever see; it's not the most exciting movie you'll ever see and it's not one of Humphrey Bogart's best movies by a long shot. But it's still very interesting in its own way. I was intrigued by it at first because it's the story of a MASH unit in the Korean War - long before MASH the TV series or MASH the movie or MASH the book. To be honest, I really hadn't been aware that a story that focused specifically on a MASH unit had been done before that. I have to say that I enjoyed this much more than I enjoyed "MASH" the movie. This seemed to take a far more serious approach to the subject, and it seemed to stay on topic far better. It makes many of the same points that author Richard Hooker would make in his 1968 book (and that would be the inspiration for the later movie and TV series of the same name) - the pointlessness of war, the heroics of the medical teams and the need for those involved to just find a way - any way - through, whether that meant alcohol or sex (or, I suppose, anything else.) It's different, though, in that it portrays a much more positive picture of the military.

Bogart played Major Webb, second in command of MASH 8666. He's a bit of a lonely figure with a past that doesn't really get explored much, but he's obviously a superb doctor. Into his life comes Lt. Ruth McGara (June Allyson) and they develop an interesting relationship that both sometimes fight against, that sometimes neither takes very seriously and that seems to eventually develop into something real. There wasn't really much passion (or chemistry) between them, but the relationship seemed believable to me in the circumstances, where such relationships probably come and go pretty quickly depending on who gets transferred where and when. It's a cautious relationship understandably, and so perhaps the emotional connection that sometimes seems lacking actually works. It's that relationship that's the plot device that moves this forward.

Interspersed are vignettes of war. The hospital comes under fire on occasion, it's constantly on the move to keep up with wherever the front happens to be, there's some reflection on the impact of the war on Korean civilians, and the most exciting scene of the movie is probably the North Korean prisoner who manages to smuggle a grenade into the hospital. It's not an exciting, action-packed war movie. It seems to simply give a look at the life of those serving in a MASH unit, and it seems to be one of the many "tribute" sort of movies that were made in the era. Although casualties are certainly present throughout, it's also not at all graphic in its depictions, and (even understanding the greater sensitivities the industry at the time had to such things) I found it ridiculous that Webb could perform chest surgery on a young Korean boy which included an open heart massage and yet apparently not get a spot of blood on him while doing it!

It's not great. I would call it interesting, mostly for its look at a MASH unit before M*A*S*H*. (5/10)

Battle Circus (1953)

An awkward movie with really uneven acting and some routine (or worse) dialog. Even the battle actions scenes, which have along history of success in Hollywood, are sometimes clumsy. You have to accept all this up front to get anywhere further here and appreciate the sincere shreds of insight into a little known aspect of war, and of the Korean War in particular at the time—the mobile hospitals that followed the front line fighting.

Of course MASH the movie and then MASH the t.v. show took the idea and made it everyday material (with a not-so-hidden commentary on the Vietnam war). "Battle Circus" is unusual in coming right as the "Korean Conflict" was ending (the war ended in 1953), and a decade before Vietnam grew into an actual war for the U.S. And so it is very interesting—if you are a student of war, and war movies, that is. It's a bit of a slog as a drama, however, even watching the kinds of vehicles in use or the hardships of weather and war. The methods of setting up these hospitals so quickly is quite accurate and the army cooperated with some of the filming.

There is also Humphrey Bogart. When an actor reaches his kind of fame, even his lesser movies take on meaning. He has a central role as a leading officer in the group, and of course he has near-misses and a few near-kisses with the women—nurses—who are the center of activities. He's portrayed as a womanizing, practical man, not especially nice but eventually very admirable—like many of his characters, in fact.

Some of the scenes are quite serious and strong, taken by themselves. But they get beaten down by the stiff romance that is forced on Bogart and his counterpart, June Allyson. She has to play a naive, smart, well-meaning "girl next door" and while that might be the truth sometimes, it makes for a kind of false set-up, and she's a lightweight presence.

So the movie stumbles along in a weird zone. The decision of Altman making MASH to turn it truly comic was essential (the humor here is rare and flat, like falling in the mud). So tune out in the love scenes and get absorbed in the genuine intensity of the best of the staged war scenes and the hospital dynamics. The title, by the way, is suggested very early when Allyson cheerfully says that moving the tents every few days is just like a real circus on the move.

Battle Circus (1953)

** (out of 4)

MGM drama about a MASH unit in Korea and a doctor (Humphrey Bogart) who falls for a new nurse (June Allyson). This is a pretty strange film that didn't quite work with me and I think a lot of that is due to the rather poor screenplay that never knows what it's trying to be. It starts off as a war drama then moves into a romantic comedy and then at the end tries to turn into something else. The moods of the film are constantly changing to the point where you don't know what or how you're suppose to be feeling. Bogart was an interesting choice for the role here because he's having to put on the charm from scene one until the end. Many have found his performance bad here but I thought he handled it pretty well. The sweet talk stuff doesn't sound right coming from someone like Bogart but that's why I found it charming. Allyson isn't nearly as strong in her role but she's adorable enough. Bogart and her do a nice job together, although I had a hard time believing he'd actually fall so hard for her. I've read several comments that have attacked the film and Bogart's character because he's pretty much sexually harassing the woman throughout the movie. Even when she wants nothing to do with him he still uses his power as a doctor to touch her and so on. I personally didn't take this stuff that serious as I don't think it was meant to be seen as any sort of harassment. In the end, the film doesn't work and turns out to be one of the legendary star's lesser films.

It's hard to believe that Richard Brooks (he of "In Cold Blood" and "The Professionals") directed this. Having coincidentally seen another Korean War film, "One Minute to Zero," immediately before this one, I can vouch for the fact that "Battle Circus" is a major improvement. However, that in itself is no great recommendation. Humphrey Bogart is his usual excellent self, professional and expert in his handling of the role of a MASH unit doctor. And June Allyson is endearing and fine in her role as the nurse who loves him. But despite the fact that plenty of screen romances have survived a greater age difference between couples than the 18 years that separates Bogart and Allyson, Bogart just comes off as uncomfortably old to be pulling the kind of shenanigans he tries with Allyson here. Never mind that in real life Bogart's fairy-tale romance with Lauren Bacall was between two people 25 years apart in age -- this is the movies, and at 53, Bogart seems slightly creepy, forcing his attentions on a young nurse and getting somewhat pissy when she dares to ask if he has a wife. Nonetheless the performances are good and occasionally overcome a difficult script (difficult not in complexity but in mediocrity). Robert Keith, who seems to have managed a long Hollywood career without ever varying his performances one whit, does what he always does as Bogart's commanding officer. Keenan Wynn is substantial and believable as the tough sergeant who keeps things running. But outside of a couple of intense moments (such as the one where a terrified North Korean soldier -- Philip Ahn -- threatens to blow up the operating room), the movie hovers like a helicopter over the no-man's land between drama and soap opera, unable quite to make up its mind where to set down.

The black and white photography, camera angles and editing of Battle Circus are top rate adding verisimilitude to an unusual story about medics during the Korean War.

The dialog between Bogie and June is hard-boiled and cheesy and quite wonderful. It is entertaining to see a big-hearted 1950's female character (Allyson) deflecting an in-your-face, unapologetic wolf (Bogart) without need of feminist presumption, sexual harassment law and political correctness cops.

With their distinct, defining and appealing faces and voices, both leads make the film's romance seem some what logical within the logic of 1950's Hollywood. It sure is fun watching them.

And so too is a terrific Keenan Wynn and the mechanics and team work required to set up MASH units in a war zone. In the film, the tented hospitals were set up, taken down and hauled off and set up again by men and women who were clearly experienced in the service.

The surgery tents and medical sequences in Battle Circus are sanitized compared to what one sees on television these days and what was depicted in the TV series M.A.S.H! Back then, the entertainment world respected the privacy of someone's innards particularly when their guts were spilling out of a body ripped by shrapnel.