Les amants de l'enfer

The original story behind Force of Arms was written by Richard Tregaskis, war correspondent from World War II, best known for Guadalcanal Diary. Of course some would argue that Tregaskis borrowed a lot of the plot from the previous war that Ernest Hemingway chronicled in A Farewell to Arms.

Still it's a nice romantic story brought to life by the teaming of William Holden and Nancy Olson who did four films together back at this time. Nancy Olson in fact got an Oscar nomination in the Best Supporting Actress category for Sunset Boulevard which was their first film together.

After his company is relieved on the San Pietro front in the Italian theater, William Holden meets WAC Nancy Olson and a romance blooms. But it's back to the front, in fact Holden gets himself wounded twice during the course of Force of Arms.

Actual combat footage from the Italian campaign is used along with newsreels from the liberation of Rome where the climax takes place. There are good performances here also by Frank Lovejoy and Katherine Warren as the respective commanding officers of Holden and Olson.

This was Bill Holden's first great romantic role along the lines of Humphrey Bogart in Casablanca. It's a harbinger of what we would later get from him in films like The Bridges of Toko-Ri and Love Is A Many Splendored Thing.

It's a sadly neglected film, one of Bill Holden's better films and should not be missed.

Forget San Pietro. The real conflict in this early 50s combat film is between anti war cynicism and patriotic effusion. The later wins out, as it almost always would in a pre 1960s Hollywood war movie, but the fact that there is even a spirited contest between the two ideologies shows just how far in the rear view mirror WW2, our only morally justified foreign engagement, had receded by 1951, especially once Korea had taken its place.

So if only as a marker of American society's changing views on war and flag waving this film would be worthy of notice. It is also the last good work of its director, the great Michael Curtiz*, who has at least two films in the top Hollywood 100 of the twentieth century (three if you're a "Yankee Doodle Dandy" fan, which I am not) featuring very realistic, hard bitten battle scenes.

Unfortunately, as previous reviewer planktonrules noted, the film is marred by some of the worst, gushy, mushy, cloyingly romantic dialogue, in the love scenes between William Holden and Nancy Olson, this side of a Fanny Hurst novel. I mean, Holden is a legitimately great actor but not even he can survive such lines as "With you I will live forever", spoken sincerely. And Olson, a much less skilled thesp, is completely done in by the lovey dovey twaddle composed by scenarist Orin Jannings, a scribe with whom I am thankfully not familiar.

Bottom line: Give it a generous B minus 'cause I'm a big Curtiz fan.

*There are some who regard 1958's "King Creole", with Elvis, as good. I am not among them.

It would be easy to pass off Force of Arms as just another post-WWII action/romance movie until you're a few frames into viewing it. Surprisingly realistic with actual combat footage interspersed with filming. Strong yet sensitively-understated performances by Holden, Olson, and, in a supporting role, Frank Lovejoy. An inspired and superior script helps convey the chaos of combat, its effects on those who are scarred by it, and the powerful force of love that can somehow emerge in the midst of the sheer will to survive. A classic that feels as real in 2017 as when it was filmed.

Just caught it on Turner. The reviews calling it "routine" show how dull-normal some people are. In fact, the old pro Michael Curtiz (look him up) brings an extraordinary sensibility to the film. Gone are his romantic stylings of Casablanca and Robin Hood, his lush, overdone Warner's agreeable foolishness. Instead, he portrays war as bitter and without glory, full of random death and meaningless violence. The three combat sequences are superb, and Holden, as he would later demonstrate in "Bridge on the River K" is brilliant as a reluctant soldier who has no sense of glory and no wish to be a hero, but is nevertheless the everyman Infantryman, who knows he must do his duty. Curtiz doesn't turn this evocation of battle into boy's fantasy; it's hard, bitter, terrifying and brutally unfair to children and especially young American men who never thought they'd be dying in the slopes of Mt. Casino. The romance is nicely done, even if the ending is trite (but, in the way that cheap melody can be, amazingly satisfying). Olsen and Holden have great chem (as they proved in three other films as well) and all in all, the whole piece is kept in a register of near-realism that's very affecting. A neglected minor gem from the great Curtiz.

It's been tough fighting in Italy. Sgt. John 'Pete' Peterson (William Holden) and his men are getting pulled out for five days after a terrible battle. He meets WAC Lt. Eleanor MacKay (Nancy Olson). Maj. Blackford (Frank Lovejoy) has a battlefield commission for him. He gets closer to Lt. MacKay and soon has to go back to the front.

This movie is divided between love and war. The love part has a melodramatic romance with some limited heat. She's a good girl on the rebound from a trauma. He's been in the thick of it. The romance is rather old fashion. The war part has some functional battles with a mix of real and staged footage. The fighting is somewhat realistic with many friendlies killed.