Amère victoire

Well directed and atmospherically photographed, this is no mere action film but more a study of the human condition, viewed through a particular prism, distilled in the crucible of conflict.

Slightly odd casting choices here but the quality of the performances is high and the overall result is pretty good. This isn't a film to watch if you just want to see another war flick, this is more a film to watch if you want to see how a character study is made.

I think it adds that this film is in black and white; it is after all the only thing about the film that is, er, black and white. However there is a whole generation of would-be film-goers who simply won't watch films like this one because 'they are old-fashioned' and being in monochrome is seen as part of that. It is their loss, of course, but one wonders how the film would have stacked up had it been made in colour instead.

On paper, one of the chief protagonists ought to have been delighted at the final outcome, but of course this isn't necessarily the case. There are no real heroes here, only the living and the dead, both flawed, and the dead don't get to tell their story.

This isn't a truly great film but it is a pretty good one; definitely worth a watch. Seven out of ten from me.

As it were...The 2 films (this one and Flying Leathernecks) have more in common than one would like to believe, given the fact that F.L. is often thought of as not a "real" Ray film. But the rivalry between 2 military men who dance around the same rank (one being generally subservient - not by choice - to the other) is in both cases treated as as much a psychological issue as an issue of military discipline. The difference is that in F.L. the psychological aspect is soft-pedaled (except for a couple of key scenes). I have to admit that there are a couple of ways that I prefer F.L. Obviously, Bitter Victory is a much finer and more fully realized film. But it feels failed to me in some important ways: it seems to aspire to the status of independent artwork (the score, the long scenes of trudging through the desert), and as such it is not totally successful. It doesn't break free of its genre moorings the way Fuller or Sirk or Ophuls (etc.) can and often do. F.L. doesn't pretend to be more than it is: it stays solidly within genre conventions, easy resolution and all. Its lack of aspiration makes it easier to watch, to some degree. There are unforgettable moments in Bitter Victory: the scorpion, the camel bladder, the raid, the dance, the fight in the street (pure Ray). But the whole doesn't convince me, the issues don't move me. Ray often seems poised between Kazanian script and actor - driven film-making on one hand and more personal crazy auteurist cinema on the other. I haven't had that revelation that caused Godard to say "the cinema is Nicholas Ray". I'll keep trying.

Before entering the cinema theater I read a review of the film made by Godard in Cahiers du Cinéma. He defined this movie 'more than cinema' and a pure reflection of life. The miserable and coward behaviour of the character (played superbly by Curd Júrgens), a bewildered Richard Burton when futilely carries over his shoulder a dying soldier through the desert until he realizes his death: 'I kill the living and save the dead! or the moment when Ruth Roman looks for "Jimmy" among the survivors of the expedition, and many more... are all beautiful pieces of life, probably bigger than life... How easy is killing!? I also wanted to emphasize the brilliant expressionist photography used in the film. Especially in the nocturnal sequences.

Possibly Nicholas Ray's most masculine film, he begins with a great opening credits sequence and follows with a studious, procedural atmosphere. When it gets emotionally dramatic quite soon, it remains taut, spare, subdued. Because Ray doesn't tell us how to feel about it, our understanding of the histrionics is that much clearer and unclouded. By the twenty-minute mark, the tension is a natural agreement between us and the film, which sits back viewing objectively horizontal planes, or stationary horizontal shots of whatever natural blocking. Even a shootout in the desert night.

Bitter Victory is a rare treat, a military thriller involving war and covert ops, but focusing not on combat or conspiracies, but on the agitated envy two Allied officers who are situated on a commando raid together. We skip the parachuting in to Bengasi but we're quickly witness to their wordless close calls and perceptions of un-subtitled Arabic. This downbeat emotional drama is what no Jack Ryan or Jason Bourne film would have the nerve or insight to do. It sees combat violence, sneak operations and life-or-death situations, of course, but it does not see the core of the suspense in it. But one of the two central characters, yes, essentially just two, is burying his knowledge that he's unfit for his job and undeserving of his command as deep as he can beneath the assurances of his aggressive justification. Another is having an affair with that very commander's wife, whose emotions are displaced from her husband.

The on-screen violence is far from realistic, but building towards it and simmering down from it are steady and natural to the point that I might even say that it is Ray's most effective film about repression and male anger, even the great In a Lonely Place, in which Humphrey Bogart's outbursts betray an all-too-real recklessness in his eyes. The tension in Bitter Victory makes brief outbursts by, say, the latter said central character, played intensely by Richard Burton, feel twice the jolt of the violence which is expected of his mission. And the tensions heightened by the controlling anger of the commander, in a strong performance by Curt Jurgens, create a balance of ambiguity. We know the crushing inadequacies that haunt the very men we find so brutally cold.

Apart from acting performances I couldn't find many redeeming qualities in "Bitter Victory", and WWII movie about British troops in North Africa. The story revolves around Burton and Roman who were once lovers, and her husband, Curt Jergens. The two men are selected for a secret mission led by Jergens, who lacks courage to do what's necessary and is mocked by Burton throughout the picture.

It is an action picture but descends into a clash of minds and temperaments at the expense of tension and suspense. It is one of Nicholas Ray's poorer directing jobs and the film lacks good set design as well, leaving the viewer to wonder if all production money was spent on the cast. The musical score was tuneless and inappropriate, but in keeping with the overall sub-par nature of the film. Can't recommend it and wished I hadn't wasted the two hours.