Da qui all'eternità

The majority opinion can be wrong, and I think this is the case here, because I find the series much better and armonious than the sober film of the 50's, and more close to the original novel. Besides, you can enjoy one of the finest interpretations offered by Natalie Wood (a though but romantic heroin) and supporter Joe Pantoliano -the great resurrection of Frank Sinatra's spirit- who made clear in this production good part of his fabulous acting way that all of us would appreciate years later- thereafter,Pantoliano will consolidate as one of the best character actors of his time.

This has become my favorite mini-series of all time. When it was first aired, I watched it only because of the previews and buzz talk surrounding it. I had never been much of a fan of the original, which was before my time, and that may have a lot to do with me liking this version, I admit. The performances, however, were outstanding. William Devane was excellent in a role I couldn't ever have imagined him in. And of course, there was Natalie Wood, who could NEVER do any wrong as far as I was concerned. I truly believe that she was the most beautiful actress to ever grace the big screen or small. Kim Basinger, in an early role, was absolutely gorgeous and angelic. Joe Pantoliano stepped into a much compared part with a very credible performance. And a young Steve Railsback was perfect for this part, at this time. I have been waiting almost 30 years for this to appear on Home Video, and I hope that it is out soon!

Other than Joe Pants, this movie is so so. It's fun to watch that father from EVERYBODY LOVES RAYMOND as a drill sgt. He gets so mean that he even physically abuses his recruits!!! He is mean!! Like I said, unless you like Joe Pants, see the Ol' Blue Eyes version.

Natalie Wood's Golden Globe Winning Performance makes this mini series worth watching. Natalie brings heart and sensuality to a complex character torn between desire and propriety, frustrated in a loveless marriage but unable to abandon the trappings of status.

What makes Natalie's performance most memorable is her subtlety. In an era where "over the top" acting seems to get the most recognition, Natalie keeps her tumultuous feelings simmering below the surface, like a volcano threatening to erupt, but controlled enough to simply "glow red." You can see the intense heat in her charcoal eyes. Natalie's ambivalence makes her moments with William Devane all the more powerful.

Try to see the uncut six episode version--you will miss a lot if you only see the 110 minute version.

True, this version of James Jones' classic novel attempts to follow the writer's concept, moreso than the 1953 theatrical version, and it is able to do so since the Hayes Code has lost most of it's grip, BUT...

The acting here seems so uninspired and lackluster, that it becomes a chore to grind out the five hours of this TV opus. Devane does well in the first half of this, but around the middle he spirals down to a gum chewing clod and more closely resembles SGT Snorkle of Beetle Bailey fame than rough, tough SGT Ward. Railsback, who shined so brightly as Chuck Manson in "Helter Skelter" (1976), still appears to be trying to portray the Mass Slayer rather than a thirty-year man with the troubles of the world on his back. Wood and Pantaliano turn in the best performances, yet what remains just is not worth staying up late to watch-catch the Lancaster/Clift version even if you've seen it a hundred times...it is far superior.