Le Mal de tuer

This has got to be one of the least expensive movies ever made outside the Roger Corman organization, shot on a bare lot in a few weeks. Redford (not yet a heart throb) plays Loomis, newly assigned to an infantry company under the command of a curiously unassertive captain who shows an especially protective attitude toward John Saxon's enlisted man. No homosexuality is implied on the part of the captain. He seems more fearful of Saxon than attracted to him, and he depends on the information Saxon brings back from his nightly solo patrols behind the Chinese lines. The reason for the diffidence shown Saxon by the captain, and by all other members of the company, becomes clear when we see him in action at night, his face painted a ghastly black, slitting throats and doing a little war dance around the bodies. Killing is what Saxon does. It's practically ALL he does. He sleeps while the other grunts work, and whistles loudly and heedlessly while others sleep and he cleans his weapons. Except when murdering or teaching his young Korean orphan friend how to play the game, he maintains a vacant expression, doesn't remember to call officers "Sir," and is convinced with absolute certainty that he's doing what he does flawlessly. While being debriefed after a night patrol in which he discovered a heretofor unknown Chinese listening post ("One of them was asleep," he comments smoothly) the captain asks him if, you know, well, this is kinda important and, does he think he maybe should go back and make sure his information is accurate. And Saxon looks up from his coffee blankly and asks, "What for?" Saxon is quite good, actually. Redford hadn't yet got control of his minimalist style. The two of them represent sets of entirely different values: Saxon, who is driven by the same demons that move any ordinary serial killer; and Redford, whose convictions are bourgeoise. The focus of their conflict is the Korean orphan. Redford wants to put him into an orphanage where they will at least feed and clothe him and teach him how to play baseball instead of how to murder people. He tells Saxon this and threatens to take the matter to higher authority, generating from Saxon a withering stare filled with hellish and unfathomable emotions because, aside from serial killing, the Korean boy is the only meaningful thing in Saxon's life. It ends as you'd expect. Saxon would never have made it in civvy street anway. This is the trouble not only with efficient and committed killers like Saxon (and like Steve McQueen in "Hell is for Heroes," as another commentor pointed out) but with many military heroes, alas. So many of them seem prompted to extraordinary things without being too clear about whether their circumstances are extraordinary or otherwise. Francis Ford Coppola was a driver on one of the army trucks in this movie.

This ultra low-budgeted and virtually unknown war/drama movie is probably the most interesting from an "acting" point-of-view. "War Hunt" remarkably – but I suppose coincidentally as well – features the big screen debuts of no less than three names that are nowadays considered hugely famous and acclaimed. Director Sydney Pollack (who sadly passed away earlier this year) and charismatic star Tom Skerritt both appear in small yet memorable roles, while Robert Redford (later star of classics such as "The Sting" and "All The President's Men") debuts in the fairly complex leading role of idealistic soldier in the center of a senseless Korean war zone. And yet, in spite of the more appealing great names, it's unquestionably the still underrated veteran actor John Saxon who steals the show. Even more so, Saxon owns the film and he's genuinely petrifying as the introvert soldier who appears to use the Korean War to give rein to his murderous and psychotic tendencies. When the young and inexperienced private Loomis arrives at the front during the last stage of the Korean War, his fellow soldiers immediately warn him to stay out of the way of Private Endore and his protégé Charlie; a local orphan kid. Endore is a brilliant soldier and of immeasurably value to the American army, but that is mainly because he single-handedly decreases the number of Korean soldiers by deliberately sneaking behind enemy lines at night. Private Loomis protests against this, especially because he wants to protect the young Charlie from his dangerous colleague. The rudimentary plot of "War Hunt" is actually pretty genius, since it's the first and only film – at least, as far as I know – that openly suggests signing up for the army is the ideal method for psychopathic killers to get away with their incontrollable urges and even get honored for them! Private Endore is anti-social, impolite and without manners but his superiors never cease to cover from him because he's such a powerful weapon against the enemy. The atmosphere of "War Hunt" is aptly depressing and dark, with some really brilliant musical choices and bleak photography. Presumably due to the absence of financial means, there's a severe shortage of action scenes and hence you'll have to struggle yourself through a handful of seemingly dull and redundant moments. Still, if it's not necessarily boisterous gunfire and violent battles in the trenches you're searching for, I would definitely recommend "War Hunt", if it were only for John Saxon's stupendous performance. His menacingly painted faced, the desolate star in his eyes and his completely unpredictable and impulsive personality make this one of the greatest performances I've ever seen in a low-keyed war epic.

Director Denis Sanders isn't a very well-known or acknowledged filmmaker. After seeing "War Hunt", I looked up his filmography, hoping to credit him to another, more mainstream film – one does not exist. Fortunately, a man does not have to be well known or have a huge fan base to be a good director. "War Hunt" is one of the best low-budget sleepers in the video store, now available on DVD from MGM.

Running less than 90 minutes, "War Hunt" tells a powerful story about the toll of warfare on those who fight it. Idealism, patriotism and notions of heroism are forgotten in the midst of battle. Instead of making men into saints, war usually turns them into demons. Pvt. Loomis (an impossibly young Robert Redford) arrives in Korea during the last few weeks of the war. He meets Raymond Endore (John Saxon, "The Cavern"), an unhinged draftee who thrives on night patrols, during which he kills North Korean soldiers in their sleep. Endore has taken Charlie (Tommy Matsuda), a Korean orphan, into his care and Loomis also befriends the boy, hoping to wrest him away from Endore's dangerous influence.

Much like "Hell is for Heroes" which premiered the same year, "War Hunt" was shot on a shoestring budget in the Midwestern United States. From start to finish, it's obvious that the military did not back the production. After all, this is a very anti-military movie. There are only a few extras on-hand and we only see a few trucks. The lack of financing really shows through in the climactic scene in which hordes of Chinese troops attack the entrenched Americans; most of the explosions and reactions to them look utterly false and stagy.

Thankfully, this is not a picture about action and the glory of war – it's about the aftermath of such scenes. The fighting serves to push the conflict forward in the quiet moments of rest and recuperation when the bullets are done flying. In fact, in the film's third act, set during the cease-fire with the Chinese, the most devastating violence occurs. Endore sets off with Charlie to live in the mountains after the war's end, refusing to admit that he is part of the Army and must return home. The final conclusion between Endore and Captain Pratt (Charles Aidman) is quick, gritty and comes to an unexpected, powerful conclusion.

Sanders' ensemble cast is superb in every way. Redford, in his film debut, is actually quite memorable as Loomis. The first time we meet Loomis, we already know what to expect: we've seen this type of clean-cut, fair-haired boy before. He'll go on to undergo a baptism of fire and become the hero of the piece. Not so, here. Loomis arrives in Korea with ideals and patriotism; much like Charlie Sheen's Chris Taylor in "Platoon", he comes to realize that there are only two kinds of men in warfare: those who crack under its pressures, like Endore, and those who just want to survive, like his new found friends Crotty (Gavin MacLeod) and Showalter (Tom Skerritt). His scenes between Charlie are tender, poignant and moving. His encounters with Endore are chilling and unconventionally solved. As Endore, John Saxon brings a new meaning to the word psychopath. We've never met a wacko like him before. His mannerisms, dialog, expressions, are all played with utter randomness. It's as if he was handed the role and told "do what you want with it". There are times when Endore is almost completely human, but something in his eyes tells us that perhaps there is something slightly wrong with this guy. As the nature of his character is gradually revealed, we can't help but become shocked, almost frightened.

"War Hunt" is a cliché-free, freshly original and involving drama. It makes a strong statement about war's general destructive nature. This is a movie about survival and flawed idealism, not heroism and courage. Kudos to the director for choosing to pick such a controversial subject. The film is almost prophetic in that it approaches the Korean War with an attitude that would come across with force and power in Vietnam films 25 years later, like "Hamburger Hill" and "Platoon".

In Korea, in May 1953, the rookie G.I. Roy Loomis (Robert Redford) joins the Jaguars in the front. He befriends the soldiers and discovers that the psychotic Private Raymond Endore (John Saxon) sneaks out of the base every night to slice the throats of their enemies with his dagger. Further, the Korean orphan Charlie (Tommy Matsuda) idolizes Endore. When the governments sign the cease-fire, Endore once again leaves the base bringing the boy with him.

The dramatic "War Hunt" is a film with a wonderful cinematography in black and white, excellent acting but the story is only reasonable. The characters are not well-developed specially the psychotic Raymond Endore that is a rich character but the motives for his death wish and his affection for Charlie are poorly explained along the screenplay. My vote is six.

Title (Brazil): "Obsessão de Matar" ("Obsession of Killing")

Dark, atmospheric, stylish film telling the story of combat as seen through the eyes of a newcomer, baby-faced Robert Redford, at a wartime trench camp in Korea, 1953. The story basically follows this man's experiences dealing with the others in their little platoon barracks - particularly a very odd man (played by John Saxon) who first appears on screen in a most memorable style - his mud-covered face suddenly appearing in close-up, completely filling the screen. This man likes to go out alone at night with his face darkened, on his own private "war hunt" as he knifes to death Koreans hiding in trench holes. This man's sidekick at camp is a young, orphaned Korean boy who seems to worship the older man. At one point, we watch Redford's character as he faces great fear during his first experience in combat; he also desires to help the young boy and faces many confrontations with the "war hunter"/mud man.

This is a very unusual film - powerful, gripping and interesting, the story moved along via voice-over narration by Redford as his character relates his experiences. The film features excellent, thoughtful camera-work including many facial close-ups, and many dark, night-time scenes that gives a haunting feeling to the action. The background music reminded me in style of that often heard during "Twilight Zone" or even "Star Trek" episodes - a sort of 60s sci-fi feeling to it, in a way. The film opens and closes with a nicely done, sentimental chorus of Korean children. An excellent film all around.