Le cri de la victoire

For those of us who lived thru the War, BATTLE CRY is a splendid multi story Marines in Love and War drama, masterfully overseen by veteran Raoul Walsh, with a career perf by Aldo Ray, backed with fine work from Van Heflin, James Whitmore, Tab Hunter, Nancy Olson and others in a star cast. A huge box office hit from an equally big bestseller, marking a vast improvement on the book. Sentimental, exciting, plausible, involving and thoroughly entertaining; its 149 minute running time paced properly, unlike today's bloated epics, which seem to embrace overlength as a substitute for content and skill. Unlike Spielberg's yawner, CRY didn't need to resort to F/X bloodbaths to awaken the audience's attention.

I saw BATTLE CRY on Feb. 19, 1955 at the Laurel Theatre in San Carlos, a Saturday night at the movies in an Art Deco suburban house. Maybe you have to be 66 to appreciate this film for what it represents; and maybe you need to be 26 to swallow Spielberg's version of D-Day. I'll stick with BATTLE CRY.

As I recall, our small town's prestige theater was packed, even to the back row of the balcony where I had to sit. But who cared. Word was that shapely Dorothy Malone (Elaine) did a strip tease in a chair, and just the thought of a girl bra-less on screen was enough to bring out every horny high school guy in town. Plus, the title promised all the neat battle scenes that teens in the '50's confused with real war. I don't think any of us were disappointed after leaving the theatre. Then again, a little Malone skin went a long way.

Seeing the movie again, I realize how many years have passed and how people change. Now the 2-hours-plus seem tedious and transparent, a typical Hollywood whitewash of the time, with stock characters and clichéd situations. It's like the producers wanted to touch every boy-girl base possible, and they do. I'm just puzzled the movie wasn't titled "Mating Cry" since that's where the screen time really is; only the last 10-minutes or so involve battle scenes and that amounts to either artillery explosions or fixing bayonets.

I'm sure enlistments went up following the film's release. Looks like Warner Bros. got maximal assistance from the Corps at Camp Pendleton—lots of massed troop scenes and colorful beach landings. And why not since the film's sum total plays like a recruitment poster. The trouble is this was just this type of Hollywood hokum that helped create the disconnect 10-years later between what Americans expected in Vietnam and the stark realities of what they got. And therein lies the irony of that long ago theater night—the glamorized deceptions of a Battle Cry plus its many 50's kin ended up costing a lot of folks more than what they paid at the box office.

My perspective of this movie is that of a Navy veteran of World War II. My ship landed Marines on Iwo Jima and I witnessed the flag over Mount Suribachi. I take exception to some who do not consider this realistic enough, but it was made in 1955 and for its time I thought the combat scenes were adequate. I read Leon Uris' book Battle Cry long before I saw the movie. He was there in the Pacificduring World War II not in some office in Hollywood and not long after the question of whether or not we would prevail was yet finalized. He mentions in his book and it is also mentioned in the movie that when the Marines left New Zealand they "boarded the ships known as the Unholy Four." Well, I served on USS President Jackson, an attack transport which landed the first Marines in an American offensive in WWII and this was 7 August 1942 at Tulagi in the Solomon Islands. An hour later the USS President Adams landed the first troops of Guadalcanal. These two ships plus the USS President Hayes and USS Crescent City made up what was known by sailors and Marines throughout the Pacific as the "Unholy Four." So, you see, Leon Uris knew a heck of a lot more about what went on in the Pacific than latter day critics of this movie whom I doubt were ever in the military let alone in the Pacific during WWII. I enjoyed the story, the characters, the love story woven through the plot. I and many veterans could well relate to a Marine on leave falling in love with a New Zealand girl and then going off to fight and returning in bad shape. Hey,pals of today, you really don,t have any idea of such things unless you experienced them. The battle scenes were not gory and perhaps not realistic; if they were you wouldn't be able to sit in the theatre without throwing up. The two Navajo indians portrayed were used to show how the Marines used the Navajo Codetalkers to thwart Japanese trying to listen in on their communications. Recently two real live Navajo Codetalkers where given medals at the White House and there is another movie to come out about the Code Talkers. The idea that a Marine Colonel might spend a long time training troops and then not being allowed to take them into combat may seem idiotic but if you trained hard for a long, long time for a job you wanted to get it done, at least that was they way men felt in those days. The training sequences were in my opinion quite good and showed how Marines were shaped into combat readiness. The story line about some of the Marines reflected just a little about the diverse nature of servicemen during the war. There were no blacks in the movie because during WWII all military services were segregated although the Navy had black mess cooks aboard ship. Whether you like it or not that was the real way it was then. The movie has James Whitmore as a top sergeant and does a fine job with one memborable scene when the Colonel asks if he is going to stay on base or base with the Old Man. He replies, "T think I'll go to town and see ikf I can scare up an Old Woman." He had previously done a fine job as a Sergeant with 101st Airborne in Battleground, in my opinion another very good war movie. Well, the movie ends with the Marines back hom on leave and what do they see as they get off the train but a newspaper with the big black headline: "Marines on Iwo Jima." If anyone thought this was a lousy movie they are entitled to their opinions, but for me, I say, "Tell it to the Marines!"

The title of Raoul Walsh's film would indicate a high level of visual war action, but the action in this film is more like a television soap: Peyton Place Meets Boot Camp. Battle Cry is not a bad film by any means, but a mainstream 50's romance, and because it is Walsh, there are excellent things to be found, as long as you don't expect superior battlefield heroics; Aldo Ray and Van Heflin both turn in finely-tuned performances, Ray as a macho player evolving into a loving husband, Van Heflin as a commander who fails to maintain distance from his charges; a young Tab Hunter caught on with teens when he was cast as heartthrob Danny Forrester, and acquits himself nicely.

Three years later, Stanley Kubrick would make the stunning Paths of Glory, a WWI film that revealed the true brutality of battle, and Spielberg would change mainstream war films for all time with Saving Private Ryan; Battle Cry involves the willing viewer in an intelligent adaptation of a best-selling novel and as such, succeeds.

It's not surprising many war veterans like this film. Dramatically framed with a voice-over by James Whitmore as the epitome of a Marine Sergeant who cares about his men but knows the mission is all, the film quickly draws us into the lives of these men and their women in a suspenseful and satisfying way. There is enough good acting by Whitmore, Van Heflin, Dorothy Malone, John Lupton and others to get us past the less well acted and more cliched moments. Some scenarios, such as the tragedy-to-triumph of the lumberjack womanizer(Aldo Ray)and the New Zealand farm widow (Nancy Olson)are superbly plotted and played. There are many memorable moments in the film and Uris' varied characters are well represented.(Please note that Navaho code-talkers are credited here.) Combat and training imagery and sound is generally high quality, but the outstanding aspect of the film is the way it explores the human qualities of those men and women who face the tests of war.