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Of the many fine talents in the Warner Bros. "stock company," the three leads in "Pride of the Marines" may be considered the "cream of the crop." John Garfield, Eleanor Parker and Dane Clark really never gave a bad performance. Each seemingly could take on any role and make it his/her own.

No matter how weak the script may be, these professionals could work wonders with their honed skill and formidable natural talent. In the case of this film, they had very good material to work with, and their chemistry is invigorating.

Garfield, Parker and Clark are at the peak of their careers here, and it's a pleasure to watch them move from light comedy to serious drama effortlessly. Franz Waxman's score is likewise to be commended, along with the secure direction and razor sharp cinematography.

A most enjoyable and moving film.

This former Leatherneck appreciates more and more through the years John Garfield's gut-wrenching performance in the docu-drama PRIDE OF THE MARINES (1945), the true story of war hero Al Schmid who was blinded in combat on Guadalcanal by a Jap grenade. The picture, released a year before BEST YEARS OF OUR LIVES, was the first movie to deal in depth with the problems faced by returning vets. Scripted by Albert Maltz, who would eventually be jailed as one of the Hollywood 10, the film would catch major flack from Red-baiters at decade's end because of its politically-charged dialogue in one scene set in a veterans hospital, during which embittered soldiers forcefully voice both their hopes in and suspicions of a post-war society.

The three layers of plotline dramatize an accurate microcosm of American life during a pivotal time period. PRIDE explores in its pre-war first part Garfield's lower-class, working-man roots as only he could portray urban struggles and dreams during the Great Depression. The harrowing middle portion, claustrophobically confined to a cramped and stinking Pacific island foxhole (shared with Dane Clark and Anthony Caruso to form a 3-man machine gun team), graphically captures the fears and horrors of war as few films have.

But it is this citizen/soldier's readjustment in the final sequences, aided by compassionate nurse Rosemary deCamp and home-town fiancee Eleanor Parker (in a performance worthy of a Supporting Oscar nomination) that really packs an emotional wallop. Doubting his self-worth, lost in a sightless world (his post-operative cry of "Why don't God strike me dead!" is chilling), and struggling to comprehend the difference between love and pity, Garfield's perfectly modulated performance combines all the elements of his unique persona (rebellious icon, tough guy, romantic leading man, idealistic spokesman).

Given his devotion throughout the war years to the Hollywood Canteen that he and Bette Davis created, the story must have been very close to his heart. This may be his finest screen role in a career filled with meaningful performances.

This was one of the better or best WWII movies of its time. It hasn't been shown on TV in quite a while and am wondering why. John Garfield was perfect as Al Schmid, the blinded hero of Guadalcanal. The action sequence of him holding off a superior Japanese force with a machine gun was spellbinding. He was awarded the Navy Cross although I thought he should have gotten the Medal of Honor. Why isn't this movie on VHS or DVD? He was one of the real heroes of the Pacific war and his story should be available to today's generation. Instead we were bombarded by the media of Pvt Jessica Lynch who never even fired her weapon at anyone and came home a hero. Where is the justice?

What happened to Schmid in a foxhole, happened to my 19 year old uncle, only he and most of his buds didn't come back. We must never forget the soldiers of WW II, particularly because there are fewer and fewer survivors each year. I remember, growing up in the 1970s, the same exact situation concerning veterans of WORLD WAR I. Today they're all gone, but never forgotten. PRIDE OF THE MARINES is a monumental tribute to every soldier from every war, but particularly those who returned home with battle scars that could never be erased. John Garfield as Schmid brings realism to a role that scores of soldiers could relate to, and to this very day. This is an extremely well crafted and, yet haunting story that you will not forget, special credit going to an exceptional supporting cast. Dane Clark, a great actor in his own right, is superb as Garfield's tell it like it is war buddy, likewise a victim, but without scars on the outside. Same said for Eleanor Parker, in an early role. One war film you have to see at least once, but I guarantee you'll want to see it again for some truly classic scenes. Thank you so much to the producers of this masterpiece who put their heart in their work.

In the immediate aftermath following World War II, sound minds in Hollywood tried to distance themselves from the mindless flag-waving that is a natural ingredient in a war effort. "Best Years of Our Lives' and even 'Gentleman's Agreement' investigated the way Americans looked at themselves in the wake of the war, but Delmer Daves' "Pride of the Marines" beat them to it.

The film is about Philadelphia smart alec John Garfield who goes to war as a marine and after a nightmarish evening in a foxhole, with Japanese soldiers eerily crying out at him and his buddies "Mariiines, tonight you die!", he is blinded by a hand-grenade, and dumps his girlfriend back home rather than have to depend on her after coming home.

Delmer Daves is uncompromising in his depiction on these men who are brave, as it were, almost by coincidence. They are there, in the foxhole, and when shot at, they react. So much for heroism, but they get the job done. And then comes the self-pity, the dark, gloomy sense of humor. Garfield is in angry denial of his blindness and the film makes no excuses, "There's no free candy for anyone in this world", as his buddy tells him. The same guy, a Jew, played by Dane Clark, reminds him, "In a war somebody gets it, and you're it. Everybody's got problems! When I get back, some guys won't hire me, because my name is Diamond".

Great movies are made with guts like these, and if the first half hour of 'Pride of the Marines' fails to rise to the occasion completely, from then on it evolves into a true work of art. You weep, and you ponder, you ache and you hope against hope. Well, simply: art.