Il difensore di Manila

Mr. Rap's 2003 review of this movie, its context, and the characterization by Wallace Berry, needs a reply. First, the movie was released in 1943 -- at which time the US was not doing particularly well in the Pacific Theatre. Second, the lead character is a career combat NCO who has never seen combat -- yet his outfit has left for the field leaving him behind. Third, America used the theater as a way of seeing familiar faces (actors/actresses) in roles that many would be unable to fulfill, regardless of patriotism, fervor, or desire. Besides Mr. Rap's comments seemingly being out of context as to what was happening in the film (e.g. drinking and fighting, BUT because he was ashamed at being left behind after 30 years of service), the comments also seem downright petty, juvenile, and mean-spirited ("old," "fat," "pot-bellied" etc.). My assumption is that Mr. Rap has other motivations to examine and overcome, unrelated to the movie, but stimulated by the character of Beery.

Wallace Beery is a fine, wonderfully rugged actor with a touch of tongue n' cheek hanging around in his lines. He did a marvelous job in this old vintage Hollywood movie. I had not thought of him as a leading man, but by golly he carries it off in fine form. The Marines should be proud! Semper Fi! Oooooorah! The movie with heart & humor. I liked it very much. It just played on AMC on Cable TV. It tells the story of a real war hero who won a medal. It takes place in the Phillipines. It tells a fine tale, the characters are genuine and not too polished. If I am not mistaken, there are real Marines in the parade sequences. Highly recommended for a "good read". It enables me to grok what all those brave and remarkable young and older men did for us in WWII. May God Bless em' and may we always honor their service.

First one needs to remember this film was made DURING the war. Anti Japanese resentment following Pearl Harbor and things like the Bataan Death March were running high. And make no mistake, this film is pretty heavy on the anti Japanese message.

But that is also one of the things that makes it interesting. It is a glimpse into how people at the time were actually thinking. And while the "dirty japs" were portrayed as squinty, murdering savages we must remember that at the time it wasn't a completely unfair criticism.

The film is also unique in that it has a light "comedy" aspect to it. Wallace Beery manages something like an Archie Bunker quality. Probably much needed comic relief given that the news from the war was not always uplifting.

But the final thing one needs to keep in mind is the purpose of this film and ones like it. It was designed to unify the nation against a common enemy. And that is how wars are won. And if the worst thing that happens is our enemies are portrayed in a negative light, well that is hardly the worst thing that happens during wars.

gives a memorable performance. The jungle scene near the end of the movie is one of most moving scenes that I've ever witnessed. This film deserves preservation consideration. And why it's not available on DVD or VHS is a mystery.

In this leisurely-paced Technicolor flag-waver, grizzled, beer-bellied lout Wallace Beery plays a thirty-year sergeant major stationed in the Philippines just before the war. When he's forced into retirement, long-suffering wife Fay Bainter has to cope with his refusal to adapt to civilian life in their sleepy island village. He antagonizes the peace-loving neighbors with his gross manners and anti-Japanese sentiments, trains the local children in military maneuvers, and gets into brawling confrontations with shifty Niponese sailors. But once Pearl Harbor is attacked and the enemy advances on their town, Beery rallies the villagers to defense and goes out in a blaze of glory.

The climactic combat action is a long time coming, since the bulk of the movie is devoted to Beery's fatuous, self-aggrandizing antics. Whether condescending to his native troops (he refers to them as "little fellers" as though they were exotic incarnations of Jackie Cooper) or pouring on the 'aw shucks' geniality to a passel of adoring kids, this slob-king is a grating, grandstanding humbug. (What appeal could this man have possibly held for contemporary audiences? Perhaps as a fanciful role model for home front-bound middle-aged men -- the run-to-seed but still vital codger.)

No less phony is the hubba-hubba Marilyn Maxwell as his incessantly smirking daughter; it's tough enough to believe the refined, genteel Bainter could have ever had a booty call with Beery, much less produced so dishy a specimen from such rot-gut sperm.

If one can last through all this spurious slop, the final thirty minutes deliver a Johnny-come-lately wallop. As Japanese bombers hover over a crowded church, director S. Sylvan Simon uses rapid-fire editing to build tension to a fever pitch. What follows is a grand scale action set-piece that is eye-filling and surprisingly fierce, weakened only by the unhinged spectacle of the tubby, lead-footed Beery traipsing through brush to single-handedly knock out an enemy machine gun emplacement. The movie seems to be telling us that a regiment of lumbering, dissipated fat men could have shortened the war by years. Fat chance.