La dernière bagarre

It is clear that Blake Edwards chose to forego the plot points that are in the book, for more of a character study, and frankly, it works. This is not to say that if the script had included all of the plot points, that it would have been a bad film, but the script went in the direction of focusing in on the characters, not the plot.

Eustes/McQueen's character idolizes Slaughter/ Gleason's character. Any suggestion that Slaughter was ever patronizing or condescending towards Eustes is inaccurate. Eustes worships the ground Slaughter walks on, and Slaughter returns the love, knowing that his friend is more of a simple mind, but he doesn't disrespect him at all.

Jackie Gleason gives us the full "Great One" in this film, albeit in an understated mode. There's no "Bang Zoom" or "Hardee har har", but there is plenty (who am I kidding, there can never be enough) of what made The Great One so great, his vulnerability and his uncanny ability to put us inside his head, making us dream what he dreamed, letting us hurt the way he hurt, and allowing us to be a part of the oh so larger life that The Great One lived, if only for an hour or two.

This is a wonderful film. Capping on Steve McQueen for "overacting" is not fair. His character was written as over-the-top, and that's the way he played it. His wacky expressions and blatant actions in the film were beautifully offset by Gleason's calm and wordly demeanor. It's the Yin/Yang, salt/pepper, sweet/sour, and it goes together perfectly.

I'm so glad my friend sent me this movie. Otherwise, I might've never known about it. Two closing thoughts... If you want to see another perfect fat man role, played with simliar vulnerabilities, look no further than John Candy's role in "Planes, Trains, & Automobiles". John Candy took his Great One lessons. Know that. Finally, if you like this movie, you obviously enjoy buddy movies. If you're ever lucky enough to get a hold of a copy of "Looking To Get Out" 1982 starring Jon Voight, Burt Young, & Ann Margaret, don't miss it. It is the buddy movie to end all buddy movies.

Ralph Nelson's "Soldier in the Rain" is a wonderful movie about the true power of friendship. But it is also Blake Edwards' film. He may only be the writer and producer, but it is as personal as his best films.

The movie features two exceptional performances from Jackie Gleason and Steve McQueen, each cast against type here. The stunt works: Gleason is tender and convincing and McQueen is surprisingly funny and sensitive. I've read that the duo were real life friends and I think that adds another dimension to this film. We really believe that they could be friends and it makes the ending of this film, which I will only describe as a real surprise, even more effective. Like I stated before, Edwards only wrote and produced. But his script (co-written with Maurice Richlin, his co-writer on "The Pink Panther", "The Great Race" among others) doesn't preoccupy itself with the plot. It is content to simply observe these characters and Ralph Nelson has directed it well enough to make it a strong and honorable film.



More over, this film confirmed that "Days of Wine and Roses" was no fluke; that Blake Edwards was a talent that was here to stay. After making a string of disappointments ("Operation Petticoat" was a good film, but Edwards had no hand in the script and was only a contract director there), "Days" showed us a great new talent and "Soldier in the Rain" confirms it. After this, he would write and direct "The Pink Panther", which would make him bankable. "Soldier" is better than "Panther", but lesser known. Perhaps people bought into the mystique of "Panther" but wouldn't want to see a movie about character rather than plot. Hollywood must of thought the same, because "Soldier in the Rain' received zero nominations from the usual gang of idiots we call the Academy. Too bad.

"Soldier in the Rain" is not available on home video at this moment, unfortunately. It is a shame that some of Edwards' lesser films are easily available ("Switch", "High Time")but this neglected masterpiece isn't. I think that smart audiences that want to laugh, cry and think will love this tender little masterpiece. It airs often on AMC in both pan-and-scan and letterboxed versions. Tape it when you get a chance. You never know if it'll ever be seen again.

**** out of 4 stars

By the early 1960s, attempts at screwball comedies were often strained. This service buddy film is certainly oddball, and frequently lurches into unsettlingly dramatic material, but it contains one of Tuesday Weld's very best performances: her scene at the fair with Jackie Gleason is amazingly touching and funny and (startlingly) romantic. Any film that can sustain a comic-romantic idyll between Tuesday Weld and Jackie Gleason must be given credit (it's the only truly romantic scene in Gleason's movie career).

This is truly a special film. Jackie Gleason and Steve McQueen give two of their most untypical performances. The film is what I would categorize as a comedy-drama, light on the comedy and heavy on the drama. Gleason is wonderfully dry and witty as Sgt. Slaughter and McQueen is also funny in his part as well. His accent is a little difficult to get used to, but it's essential to the part he plays. The standout performance here, however, is Tuesday Weld's. She plays the slightly infantile "Miss Pepperdine" who acts as a romantic angle for Gleason's character. Their scenes together are the film's highlights. Her "introduction" in the film, involving a car wreck, is most memorable. It also features some nice acting by the supporting players. A really unique film, that hasn't had much exposure, known only to those who have seen it, and treasure it.

Sure there's some dumb scenes (photographing Tony Bill in drag for a beauty contest for example), but that carnival scene with Weld and Gleason! Weld-"I guess I ain't no prize." and Gleason-"Who is Miss Peperdine? Who is?" and her comment about fireworks. Goosebumps for me still. Get emotional every time I see it and I never tire of it. McQueen's dog, Gleason's deathbed scene and that immortal line - "Until that time, Eustis, until that time". May be the best I ever saw Jackie Gleason. Definitely the best I ever saw Tuesday Weld. And that fight scene! McQueen flying thru the air! Definitely in my top 10. And I love the Mancini score.