Da qui all'eternità

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.

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.

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.

James Jones' novel of overheated lives on a Hawaiian Army Base--just prior to the Japanese bombing on Pearl Harbor in 1941--filtered through the 1953 screenplay by Daniel Taradash before being reworked by new writers Harold Gast and Don McGuire, ostensibly to give the old chestnut some bolder action and sex appeal. There's definitely more skin--and more sinister machismo--on-screen, but by taking on the Oscar-winning theatrical adaptation from '53, one has to wonder just what the producers of this TV mini-series hoped to gain? Luckily, they've got Natalie Wood in the role of the Army Captain's estranged wife (with plenty of movie star allure, Wood gives the part her all, winning a Golden Globe for Best Actress); unfortunately, the rest of the cast is made up of television names (William Devane, Andy Griffith), B-list stalwarts (Roy Thinnes, Richard Bright), wild card newcomers (Kim Basinger, Steve Railsback), and several very odd choices (Peter Boyle as "Fatso", Will Sampson as Corporal Cheney, Joe Pantoliano in Frank Sinatra's signature role of Maggio). Aside from Wood, the best acting comes from muscular Devane as Sergeant Warden (despite his tendency to play hardball by making tough-guy faces) and Railsback, too, is interesting in the ex-boxer role left behind by Montgomery Clift. Railsback approaches the stubborn rebellion of Private Prewitt with understated ease, but the often daft teleplay leaves him in a lurch whenever he's called on to get surly in a bordello or argue with his marriage-minded island squeeze (sample dialogue: "You think I wanna take care of some snot-nosed little brat and work all day in the pineapple fields?!"). Veteran director Buzz Kulik must have felt the pressure to pull off some sort of TV miracle here, but his staging is uneven and cumbersome, most especially in the group scenes when there doesn't even appear to be a director's hand present. Moments of the presentation (278 minutes on video) are pure pap, while the color photography, locations, set designs and costumes appear second rate.

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.