Il mio corpo ti appartiene

This film holds a personal touch for me because my father was one of the paraplegics featured in this film. I know it's story to be a true and an accurate "slice-of-life" for the late 1940's public views on wheelchair bound veterans. This film is consistant with the producer[Krammer] and director[Zinnemann] film legacy of making socially conscious films. This one is a film gem! Reviewers like "Renee" should realize that there was NO measure of handicapped public awareness in 1949. People would whisper, stare, and step away from people in wheelchairs. Hand controls for cars, ramps & wide doors for wheelchairs in public restraurants, homes and hospitals were still quite new. I know, I was there at my dad's side for many many years. The point of the film was the interest about people overcoming obstacles. The cast was believeable and very outstanding. I find this film to be a very enjoyable memory into seeing again my dad with all his wheelchair friends that I grew to know. My dad and many of the veterans in this film started the Paralyzed Veterans Association or PVA. This organization is still helping needy veterans. My dad lived a very full life. While there are less and less of these "The Men" still alive; their courage and this film's insiteful positive message is worth expressing today. This is an interesting character driven film, hurrah! [This film or it's cast should NOT be compared or confused with the politically radical biography film, "Born of the Fourth of July". They are a study in opposites. My father and I thought that film was horrible and demeaning to wheelchair veterans because of it's director's heavy handed self-serving political viewpoint staged in that film.]

This little-known film surprised me with the depth of its emotional involvement with its characters. Conflict, pain, tragedy, suffering, doubt, and triumph are all present in generous and convincing doses, as we witness the travails of wartime paraplegics. Marlon Brando is excellent in a very auspicious beginning to his film career. We are really drawn into Ken and Ellen's tortuously conflicted relationship. Jack Webb is also very good here, which surprised me in light of his storied woodenness as Joe Friday (I guess that was just part of his characterization of the detective). Another round of kudos to American Movie Classics for bringing us this gem.

So much of me truly admired what 'The Men' set out to do when seeing for the first time, having loved a lot of other films of lead actor Marlon Brando ('The Godfather', 'On the Waterfront', 'Apocalypse Now') and director Fred Zinnemann ('High Noon', 'From Here to Eternity', 'The Day of the Jackal'). Its intentions are truly admirable and that cannot really be denied. The subject really resonated with me too, being disabled myself. Not paraplegic though, my problems are neurological and psychological, but it still resonated.

Having also paraplegic friends and seeing how much of an everyday struggle it is for them, like with me with my struggles, but admiring how it doesn't stop them living life to the full. The subject was very daring at the time to portray on film and in a way still is, and it actually within the context of the time does a great job with it. Some will say it has dated, but taking into account that portrayals of disabilities and attitudes towards them on film has changed significantly overtime (with more awareness now) and the timing 'The Men' does incredibly well here.

'The Men' is not perfect sure. Usually am an admirer of Dmitri Tiomkin, but am going to have to concur with those that found his score too intrusive, both too loud and used too much.

Also found that it started off a little on the slow side.

On the other hand, Brando, here in his film debut, is pretty mesmerising throughout in an intensely moving turn. Jack Webb also excels in a role atypical to the type of roles he is better known for. Teresa Wright is suitably alluring and sympathetic. The characters may not be complex but are too stereotypical either and are interesting, did root for them. The film is also confidently directed by Zinnemann and sensitively scripted by Carl Foreman (had no problem with the opening address).

Furthermore, 'The Men' is beautifully shot, without being heavy in spectacle. The editing didn't seem rough to me. The subject was very daring to portray at the time and at the time even the portrayal of paraplegia here was ground-breaking. Really admired the film's unflinching take on the daring subject, it certainly does not sugarcoat and parts are quite moving. Some may find it outdated if in my view taking it out of context, to me actually the subject and themes and the bold approach the film takes to them are still very daring and relevant today.

All in all, very good. 8/10

I saw this movie when I was 12 in England. After years of glorious positive movies about WW2 this was quite an eyeopener for me. I thought it was going to be a war combat picture. That ended real fast when Squad-leader Brando gets hit. You see Brando leading his infantry squad through devastated country side of war-torn Europe. Brando moves around the corner of a dilapidated farm house when suddenly a machine gun hits him and down he goes. The story then begins with the wounded soldier joining other bitter vets in a VA hospital. I was very impressed with this story. A great portrayal of what ordinary people who become war heroes have to live through when their minds and bodies are shattered. One scene that stands out in my mind is the one where Jack Webb quotes from Shakespeare's "perchance to dream" speech.

Marlon Brando's feature film debut was in this small budget independently produced film The Men about paralyzed World War II veterans and their adjustments. The Men also came out at around the same time as Warner Brothers Bright Victory about blind veterans and their adjustment to society.

The Men did not have the strong support of a major studio, but it had Marlon Brando who was winning raves at this time for his portrayal of Stanley Kowalski in Streetcar Named Desire. Many a time Broadway stars before and since did not recreate their career roles on film because Hollywood wanted box office insurance.

Stanley Kramer's independently produced film, risked no money for a major studio and proved Marlon Brando could both be a screen presence and a box office draw. So Brando and the entire Broadway cast with the exception of Jessica Tandy got to preserve A Streetcar Named Desire as it was first seen on stage on the strength of his good notices for The Men.

Brando dominates the film with combination of charm and bitterness not too many other actors could achieve. He's condemned to a wheelchair, not sure what if any of the functions of his lower body he will be able to use and control. His bitterness nearly drives away Teresa Wright who loves him in spite of all.

Look for good performances by Howard St. John and Dorothy Tree as Wright's parents, Everett Sloane as the doctor treating spinal cord injuries like Brando's and Richard Erdman as Brando's horse playing veteran friend. You might remember Erdman from Stalag 17 as barracks chief Hoffman. He's just as good here in The Men.

The wars change, but the injuries to life and limb to our armed services remain the same as do the problems therein. In that sense The Men is a timeless classic and the debut of a legend.