Soldato sotto la pioggia

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

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.

For all its heavy-handed sterotyping of hick Southerners(the real backbone of our armed services) and its Hollywood ham hocks accents, this film offers some fine-tuned dramatics and genuinely poignant moments. Gleason's performance couldn't be improved upon, and perhaps Tuesday Weld is just too pretty for some critics to be convinced she can act, but she demonstrates real pathos in her fair scene with Gleason, for instance. It's a shame someone didn't tell Steve McQueen to tone it down. Maybe they did and he didn't listen. He portrayal is too often off pace and far too broad. Goldman's story does not lend itself well to the grinning goofiness of, say, "No Time for Sergeants." McQueen's true acting genius does not come through here until the final scene and it's a shame. There are some fine moments throughout, nevertheless.

While this scantily plotted 1963 comedy-drama is nothing to brag about in itself, what makes the film memorable (at least for me) is Jackie Gleason's superlative performance as Army MSgt Maxwell Slaughter. It seems the role of aging, overweight and fairly complacent career NCOIC was tailor-made for Gleason. OTOH, Steve McQueen overacts in his role as a young supply Sgt. Eustis Clay, who idolizes Slaughter and attempts to get him to quit the service and go into a business venture with him. It has been said that McQueen instinctively realized that Gleason was stealing the show and over-reacted, making himself look foolish in his comedic attempts. Tuesday Weld also delivers a fine performance in another tailor- made role as the pouty teenager, Bobby Jo Pepperdine, whom Gleason dates and inevitably forms a paternal attitude towards. Great chemistry between Gleason and her in their mutual scenes. Tom Poston and pre-Batman Adam West play small supporting roles as Army superior officers. Not much drama, but it is fascinating to watch Gleason actually bodyslam an adversary in a bar brawl! Besides the Gleason-Weld scenes, the most memorable ones involve the wistful monologues Gleason gives while standing before a full-length mirror in his office, as they reveal poignant insights into his character. As I've said, the film meanders, not really going anywhere, so the truncated ending is much of a surprise. If you don't care for Gleason too much, then you probably won't like "Soldier In The Rain" all that much either. However, if you are a Gleason fan, this film will be a delectable feast!

Buddy movies seem to work particularly well when the twosome is made up of opposing elements often reflected in physical types and races. Pryor and Wilder, Mostel and Wilder, Glover and Gibson, the list goes on... Steve Mcqueen and Jackie Gleason are certainly an unexpected buddy duo, but it's a coupling which works very well.

The heroic action type seems to have dominated Mcqueen's career. As an actor he was capable of a lot more. As a likeable rogue he brought much charm to "The Reivers" similar to what we find in "Soldier in the Rain" though with an added edge of eccentricity.

Jackie Gleason, (who not only looks like Orson Welles but seems to sound like him to here), complements the duo with his own inimitable charm. Tuesday Weld, who as always has that special charm of her own, adds to the general good vibe this innocuous army life comedy has to offer.

While not exactly a film of much importance, its undeniable abundance of good nature plus talented cast make it a pleasant way to pass 88 minutes.