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It's difficult when you approach an old movie to see it for the first time and you have to try and drop all the baggage associated with it from reviews and analysis over the years. The Dirty Dozen is such a movie. I just watched it for the first time last night on TV, clipped though it was for those smaller brained people among us who don't like to see dark bits at the top and bottom of their screens.

It's interesting that there are three real character acts to this movie. There's the dark opening and character introduction, the fun act where the characters meld together into a team, and the closing act where the mission, and the war, become a stark and deadly reality. That last act is dark too, although there a couple of accidental laughs in there for the worst character expression at a death ever, and one particularly bad death scene.

What does strike you about the opening is how really dark it all is. We're talking about murders who are looking at to be retrained. Indeed one is a rapist with a serious God complex who is bordering on utterly insane. They are about to be hanged for their crimes, but have one last chance. Poor Major John Reisman has no say in the matter, he has his band and has to make them work.

It's well filmed for the first two character acts, and the acting is very good. John Cassavetes and Telly Savalas are wonderful in their roles. In fact it's a surprise to see Savalas in such a role and shining so brightly. Donald Sutherland also shows he has some excellent character acting in him. The rest are far from bad, but you can see a lot of typecasting for them.

The movement from the dark opening to the more jovial training act is interesting to watch, as this is exactly how many of the characters are seeing it, as a bit of fun. What they aren't expecting is the third character act, that of the actual war itself, and for some this proves too much.

The difficulty I had with the final act is only in the filming. There are premature cuts, awkward angles and jumping storytelling. So much is missed by the camera, and it doesn't feel like it's there to let your imagination run, it seems like someone has cut the film deliberately, and quite badly. There are quite a few scene transitions that just don't work at all.

However, where it doesn't fail is bringing the characters to their ultimate journey, that of redemption and a renewed desire to fight for their Major, and their fellow men. They become soldiers, and indeed heroes.

It's a good war film to watch, very well structured and reflective of the characters journeys. It's just that final act for me which spoiled my enjoyment, and purely in the filming of it.

Quentin Tarantino looks like he just might follow through with his threat to make the ultimate "guys on a mission movie" if he gets his 'Inglorious Bastards' on to the big screen, but he'll be pushed to equal 'The Dirty Dozen', the quintessential movie in the genre. 35 years on and it's still one of the best WW2 adventure movies, and a strong contender for the ultimate guys movie. It shouldn't be taken too seriously - I don't think anyone is going to argue it's a realistic depiction of war - but it's still one of the most entertaining movies around, and it's impressive collection of tough guys and character actors is really hard to beat. Director Aldrich had previously made the classic noir 'Kiss Me Deadly' (starring Ralph Meeker who reappears here in a supporting role) and the wonderfully creepy 'Whatever Happened To Baby Jane', but this is arguably going to be THE movie he's remembered for. Screen legend Lee Marvin ('Point Blank', 'The Killers') with the assistance of his Sgt (Richard Jaeckel), must train a motley collection of criminal and misfits (including John Cassavetes, Jim Brown, Telly Savalas, Charles Bronson, Clint Walker and Donald Sutherland), for a suicide mission behind enemy lines. Marvin is just great, extremely cool and charismatic, but also a fine actor, something which is often overlooked. The ensemble cast (which also includes George Kennedy, and two future stars of 'The Wild Bunch', Ernest Borgnine and Robert Ryan) are uniformly excellent, but Cassavetes is particularly outstanding, Sutherland is memorable as a half wit, and Savalas is unforgettable as the religious psychopath Maggott. 'The Dirty Dozen' is first class entertainment and highly recommended. It put 90% of today's "action movies" to shame!

A generally entertaining war film with no real political axe to grind or patriotic flagwaving getting in the way. Its very dangerous trying to humourise war in the movies, because that would be offensive to all those that had served & died in real life. Kelly's Heroes and 1941 probably went a little too far, pretending that war is really fun & cool when you've got people like Clint Eastwood in charge. But then you have other war films that are black in its humour but manage to keep into focus the cruelty & horrors of war at the same time - M*A*S*H and Catch 22 are the best examples. With Dirty Dozen we have something of a go-between; the humour amongst the characters is light & welcoming but never falls into farce or bad-taste; and Aldrich quickly pulls us back into the fold with some tight scripted scenes of drama & mass murder (throwing petrol & grenades into that German bunker to name but one. I often wonder about that scene, and whether it was some kind of metaphor for the gas chambers & concentration camps in Belsen) But unlike MASH & Catch 22, Aldrich resists the temptation to openly politicise the effects of war, after all this film was made in '67 near the height of the Vietnam war/protests. Instead he takes a straight line course of action and lets us be moved & entertained by the convicted GIs doing their duty. Marvin is excellent as the hardnosed but disobediant Major. He plays the anti-hero far better than Eastwood in Kelly's Heroes. Marvin just looks the type who'd give the top brass as well the Germans a real hard time. But special mention must go to Cassavettes as Viktor Franko, the trouble-maker's trouble-maker. His character is so refreshing & wild amongst a relatively mild cast of supporting extras, with the exception of Savalas. Franko is the Joker of the pack but you soon feel an attachment for him in spite of his crimes. Sutherland & Bronson, don't really add much. The former plays a slightly naive man who hasn't really grown up and Bronson just smirks & mumbles a lot. The only other character worthy of a mention is the truly terrifying Savalas, who is a Christian through & through, yet hates all women as much as the Germans; and has a most spine chilling laugh! Difficult to believe this man later became Kojak! The film is a tad overlong; the first & last 40 minutes hold the interest but the middle section (the War Games scene), is far too long and generally detracts. All the same, DD is a very good movie, especially for those who don't want to be politically moralised too. ***/*****

This is one of the most entertaining action packed war films ever made with a tremendous cast playing unique characters. I first saw this film when I was about 8 year old and thought it was the best thing I'd seen on TV.

Lee Marvin heads the cast as an unorthadox, short on discipline rebellious Major during World War II whose given a suicidal mission by a bunch of Generals headed by the excellent Ernest Borgnine. He must take 12 convicts train them and take them on a mission behind enemy lines to destroy a large chateau and kill a large number of important German officers who'll be partying there that night.

The films explosive climax is fantastic as you know inevitably that not everyone will survive the mission and by now you've sort of chosen who your favourite characters are. The build up and the training scenes are also brilliant as you discover the backgrounds behind these violent criminals.

It's Marvin's show but John Cassavettes is superb as Victor Franco, in fact with a supporting cast featuring Robert Ryan, Charles Bronson, Telly Savalas, Donald Sutherland, George Kennedy and Clint Walker you know you're in for a great ride, nobody is wasted.

There's a lot of humour mixed with quite serious issues...you sometimes forget that this band of jokers are killers with only one chance to survive a mission they are hardly trained for.

This classic is on par with The Great Escape and Where Eagles Dare, Three inferior TV movies were made in the mid eighties which basically take the same idea from the original but they are obviously no match.

It's available on video and DVD and every home should have a copy. Flawless.

Acclaimed director Robert Aldrich (also famous to war film buffs for his rule-breaking drama, "Attack") twists the familiar 'unit picture' into a famous story of unexpected heroism in the midst of World War II. Instead of making his heroes clean-cut, American draftees, we're looking at the dirtiest convicts the Armed Forces has got to offer.

OSS Major Reisman (Lee Marvin, "Hell in the Pacific") is an insubordinate Army officer who's facing a court-martial, when he's given one last chance for a reprieve: select twelve Army prisoners from a maximum-security detention center, train them for a top-secret mission behind the German lines, and then lead them into battle. If they succeed in the mission, they'll be released. For Reisman, it's a tough call, but it's his only chance to save his career.

The men he was to work with are a mixed batch, and director Aldrich packs a lot of character development into a two-and-a-half-hour movie. The most important of the "Dirty Dozen" is Franko, a small-time Chicago hoodlum who's facing the gallows for robbery and subsequent murder of a British civilian. It's clear from the start that Franko is a loner who thinks he's big stuff, but Reisman manages to prove that he's really all talk. More than once, he considers and even attempts escape from the remote training camp that the Dozen are forced to build – but maybe, just maybe, beneath that rebellious attitude, there's a chance for redemption.

Then there are some more sympathetic types: Wladislaw (Charles Bronson, "Battle of the Bulge") was once a front-line infantryman who shot his platoon's medic when the medic got scared under fire and started running – Bronson says "He took off with all the medical supplies… only way to stop him was to shoot him." Jefferson (Jim Brown, "Ice Station Zebra") has been convicted for murder – his defense is he was defending himself from vicious, racist MPs who were abusing him. Wladislaw and Jefferson find themselves allied in order to get Franko on their side, because they have faith in Reisman and aren't willing to let Franko's rebellion become infectious.

Also in fine support is Clint Walker ("None But the Brave") as the big Navajo, Posey, who punched a man too hard for shoving him. He really didn't mean to kill him; he just doesn't like being pushed. Posey comes off as a cuddly teddy bear who'd never intentionally hurt a soul, and it's clear from the start that he's one of the good guys. Finally, Telly Savalas ("Kelly's Heroes") lends a hand as the psychotic, racist, religious fanatic Maggot, who believes his job is to punish the other 11 men for their "wickedness". His motives are never really clear; all we really know is that Maggot is somewhat unhinged and potentially dangerous.

Even though Reisman and his squad don't get along, they're forced to become allied against a common enemy – the American General Staff, who want to do nothing short of shut the operation down. Aldrich again breaks the rules, making the conventionally "good guys" into the enemy. The Germans are barely mentioned throughout the first two acts, and only become involved for the explosive finale. The heart of this movie is anti-establishment behavior, right in the vein of the protest culture of the 60s: the good guys are the unshaven criminals, and the bad guys are the clean-cut, well-dressed Generals who come across as stupid and vain. As Colonel Everett Dasher Breed, Robert Ryan ("Flying Leathernecks") makes an excellent bully, a villain that the Dozen eventually unite to take action against.

Once the men have been trained and are finally cooperating and acting as a unit, it's time to set them loose on the Nazis. And still, the story doesn't become stereotypical. The mission is simple: the men will parachute into occupied France, penetrate a château being used as a rest center for high-level German officers, and kill as many of said officers as possible in a short amount of time. This operation involves stabbing defenseless women, machine-gunning prisoners, and finally, locking several dozen German officers and their mistresses in an underground bomb shelter, pouring gasoline down on them through air vents, loading said air vents with hand grenades, and then blowing up the whole place.

Characters and story aside, the film benefits from some superb editing by Michael Luciano. Director Aldrich and cinematographer Edward Scaife work hand in hand to compose every shot. The cramped, dank prison cells in the first act are utterly convincing, and the layout of the huge, magnificent German-occupied château looks, quite appropriately, like a cross between a marvelous mansion and an impregnable fortress. The battle scenes are well-choreographed, too. Never does a moment go by where we do not know where one encounter is happening in relation to what the rest of the squad is dealing with in and around the Château. Frank de Vol's sweeping score is used sparingly, and adds to both the humor and suspense of the picture. One scene, in which Donald Sutherland's character "inspects" a platoon of the 82nd Airborne, is set to a live orchestra's performance perfectly.

War is a really a dirty business – this isn't a movie about men playing by the rules. It's about breaking every rule in the book to get a job done, and if a few innocent bystanders get in the way, they're simply collateral damage. On a higher level, Aldrich's film reflects culture attitudes of the late 60s. Moviegoers wanted a film which encouraged breaking the rules, which showed the higher levels of the American military as deeply flawed, and made the dregs of society into the heroes of the piece. It's a cynical representation of the time it was made in, but holds up flawlessly 40 years later, in a culture which has probably been shaped by the attitudes the film reflects in every frame.

10/10