Retreat, Hell!

This is a war movie which focuses more on the feelings, emotions and insecurities of the platoon as well as providing a shed load of action & explosions. For this to work, you have to care about the characters. The hard edged Colonel is well portrayed and you can see the humanity leaking out of him as the pressure intensifies. The Captain who is centre of attention early n, fades into the background somewhat. The real star is young, fresh faced McDermid. You feel as if you are with him every step of his journey, you feel his nerves, pain & bravery. Although in black and white, you can almost see the red mist descend in one poignant scene. There are loads of explosions and plenty of action for the late night viewer but this is a war film with a deeper than average plot line.

"Retreat, Hell!" is an unusual film because Hollywood didn't make all that many movies about the Korean War compared to WWII. It follows a Marine unit from the invasion of Inchon through the first tough winter when the Chinese entered the fray.

The film does what too many war films do...uses too much stock footage that is scratchy and clearly NOT made for the movie in the first place. Aside from this, the story is reasonably well done, though most of the characters are a bit one-dimensional. Not a bad overview of this period, though.

War is hell. This grim movie bears that out. At least this black and white movie is consistent from start to finish as it portrays United States Marines landing and later retreating in the frozen hell of Korea. The movie's redeeming qualities are its educational aspects and the actual combat footage. Story, dialog, casting, acting and special effects are all about average. I thought the characterization was better than average at times, as it showed Marines struggling with loss, despair, fear, hope, joy and even expressing compassion. Korea has been termed the forgotten war. That is unfortunate as it was and still is very relevant, even to this day. Witness the recent demonstration of nuclear power by North Korea and the consternation it has generated. The younger generation should be aware of our nations history and this movie can be a fun and enlightening way to do so. They might wonder what Chinese soldiers are doing there. At one point our movie's characters are almost saying a famous line from a later movie--"Who are these guys?" Overall, Retreat, Hell! is a respectable war movie.

Much of the footage of the fighting in and around Seoul and near the Chosin Reservoir came from actual Marine Corps combat photographers (this was l-o-n-g before embedded reporters!). The "sensitive, caring" company commander (Richard Carlson) was a Marine reservist and veteran of WW II who was called back for Korea -- and carried some resentment of the recall with him. The comment "Retreat, hell, we're just attacking in another direction" has been variously attributed to 1st Marine Division Commander Major General Oliver P. Smith or to regimental commander Colonel (later LtGen) Lewis B. "Chesty" Puller. Douglas MacArthur spent most of his involvement in the Korean War in his Far East headquarters in Japan. The battalion executive officer in the movie, "Major Knox," was played by Peter Ortiz (a Ford favorite who appeared in What Price Glory and Rio Grande, both times wearing an eye patch), who was a real-life WW II Marine hero with the O.S.S. in France.

The Korean War doesn't have the glory that goes with WW2, although there are a few films about that war that have helped shape an image of bitter fighting carried out in even more bitter weather conditions. Retreat, Hell! should be right up there with Pork Chop Hill as the definitive Hollywood depiction of that conflict. It has that deft mix of grim authenticity, of action, and of fine characterizations. It has to be one of Russ Tamblyn's best dramatic parts. A lot of well interspersed and well done action scenes of fighting in barren snow swept hilltops and ravines, with the finale being a furious Chinese charge right into the colonel's tent. In black and white, this film has a pervasive grimness to it, that contrasts with the story of a unit of Marines trying to keep up a sunny and positive spin on a desperate situation. It's a flag-waver, but exceedingly well done.