Regimento Heróico

Recent American moviegoers who saw Martin Scorsese's great film, The Gangs of New York would probably think that the Civil War Draft Riots represented the unanimous Irish opinion on the American Civil War. Far from it and the regiment known as the 69th New York won honor and glory for itself in the Civil War.

The Spanish American War was over before it saw any action, but that was certainly made up for in World War I. The Fighting 69th as this film was called did the stuff legends are made of and a few personal legends came out of that conflict.

In the years 1938-1941 Hollywood turned out a whole load of patriotic type films. Either about past American wars or about military preparedness for the war to come, these flicks weren't deep or subtle. But they were great entertainment.

The Fighting 69th is based on two real American heroes, William J. Donovan and Father Francis P. Duffy, played by George Brent and Pat O'Brien and a fictional one named Jerry Plunkett played by James Cagney.

William J. Donovan (Will Bill as he was known)among other awards won the Congressional Medal of Honor. He had a distinguished career in the Harding-Coolidge Justice Department and also ran for Governor of New York in 1932, a bad year for Republicans which Donovan was. After this film was made, FDR appointed Donovan to head the Office of Strategic Services, our American intelligence service in World War II and the forerunner of the Central Intelligence Agency. His biography would be a great film, maybe someone will do it one day.

When Father Francis P. Duffy died in 1932, he was one of New York's beloved figures by all faiths. He was the chaplain of the regiment, having been so since the Spanish American War. During World War II, he never stayed behind the lines, he traveled with a combat medical unit and went where the fighting was the thickest. The closest person we've had to him recently was Father Mychal Judge of the NYC Fire Department who accompanied the firemen into the burning World Trade Center on 9/11/01. A couple of Catholic priests who walked the walk were Duffy and Judge.

After the war Duffy became pastor of the "Actor's church" on West 42nd Street in Hell's Kitchen, but near the theater district. When he passed on, a statue of him still there today was put in the triangle opposite Times Square. And that triangle was renamed Duffy Square.

Both Donovan and Duffy figure prominently in Cagney's story in The Fighting 69th. For the first half Cagney is his usual streetwise, cocky urban self. The second half of the film as he's brought to the realities of war reveal a different Plunkett. It's also a great test of what a fabulous player James Cagney was, to show the change in Plunkett's character. The main story line is what happens to Cagney in the film and he's brilliant.

If anyone is looking for a film about the causes of and how America got into World War I, this ain't the film. Some in current audiences will find it flag waving and super-patriotic and it sure is. But it's well acted flag waving.

One of these days someone may do a film that concentrates solely on the careers of either Donovan or Duffy. Hopefully soon.

... or at least it doesn't turn into an anti-war film, which was typical of films made concerning WWI that were made between 1925-1940. It was probably made to get Americans into a positive mood about possibly having to go to war again, once more against the Germans. I looked at my book "Cagney on Cagney" to try and get some feeling for the production, but other than a few stories about what happened to the cast during the filming little insight is given. But I digress.

Jerry Plunkett (James Cagney) is a recruit from Brooklyn,NY who joins the legendary "Fighting 69th", historically consisting of Irish Americans. Typical of James Cagney's characters, he's brash, boisterous, doesn't care for rules and regulations, but claims he's looking for a fight which is why he joined up. He's the bane of the commander of the outfit, Major Wild Bill Donovan (George Brent), and of his Sergeant, Big Mike Wynn (Alan Hale). And the fight Plunkett is looking for he finds in France, but it's the kind of fight that plays for keeps, and it turns out that Plunkett is just not up to it. And yet the priest who travels with the regiment, Father Duffy, thinks there is more to this fellow than his commanders or his regiment believes. Complications ensue.

This highly fictionalized account of the 69th does have some actual members portrayed, as Father Duffy, Major Wild Bill Donovan, and Irish American poet Joyce Kilmer (Jeffrey Lynn) were all actual members. Frank McHugh is onboard for his normal comical hijinks. His character is uninjured in battle only to sprain his ankle getting off the boat at Hoboken. Dennis Morgan is just starting out at Warner's and has a minor role. Warner's really put some effort into this one, and it shows, with a large number of their leading and supporting actors of the time appearing in the film.

I don't much care for war films, but this is one of the good ones that is really more about the possibility of redemption than battle scenes.

When I first viewed "The Fighting 69th", I was probably 8 years old, around 1948 I'd say. It literally scared me out into the lobby more than once. At that age you're not ready for trench warfare that up close and personal. Being Irish, Catholic and a kinship with people named O'Brien, I have always liked this movie on many levels for a variety of reasons. I have watched this film many times over the years, including a "colorized" version, when they were in vogue. Now comes the definitive DVD copy of the film. I watched it again in all it's 42 inch LCD, near "Hi-Def", glory again recently. I was affected by it again but in an entirely different way. Basically the story is about bright, mostly full of pluck and good humor, young men who want to get this war over with and get home again. Now it could be viewed an "anti-war" movie in some ways. It also very much is like the young men,today, shedding blood in hell holes named Iraq and Afganistan. Quite a comparison. It hit home. I'm an older man and I cried and sniffled through the entire film, and I know the film! I didn't have any lobby to run out into. Bobsluckycat, in all his reviews, has tried to give you some out of the box appreciation for whatever film he reviews and this is no exception. Yes, the stars are all fine, but look to the mostly young supporting cast, many of whom would go off to WWII and come back having served proudly and heroically, and you'll see the meat of this film. William Lundigan, George Reeves, and many many others with a line or two here and there just outstanding and would go on to long acting careers post war. Gwinn "Big Boy" Williams, Frank McHugh, Dick Foran, Sammy Cohen among many of the "pros" doing superior work. Not one casting note rings false throughout. World War I does not play well in color, with the exception of John Fords' "What Price Glory" also starring Cagney, maybe. It's meant to be in black and white. Today, it's not the "rah,rah" picture it was made to be, but a stark reminder that war kills our youngest and brightest before they mature to fullness, just as today. In that light, It's one of the best war movies EVER made, period.

Hollywood released quite a few films with the Pat O'Brien, Jimmy Cagney pairing with the same general theme, one which I think is unfairly dismissed here as 'cliched'.

In each of these films, Cagney's character was an Irish ghetto hood, full of street values (toughness at all costs... taking, lying, and using ... physical aggressiveness ... resistance to authority or discipline ... contempt for 'chump' 'soft' moral values). He saw Pat O'Brien's character as 'soft' because he was a 'sucker' with all his 'morality' talk.

The redemption came when Cagney's character contrasted Father Duffy's steady courage under fire with his own terror. His street values taught him to respect courage. But he saw that his street values can teach him defiance but not serenity. Serenity comes from moral character and the street cannot teach you that. He saw that there is, as the song goes, more to being a man than just being macho. And there is a courage that has nothing to do with your fists.

That is a very, very important point.

THE FIGHTING 69th (Warner Brothers, 1940), directed by William Keighley, teams James Cagney and Pat O'Brien for the seventh time on screen. A fine pair of fine Irish actors who were reportedly best friends in real life, they were first united in HERE COMES THE NAVY (1934), followed by DEVIL DOGS OF THE AIR, THE IRISH IN US, CEILING ZERO (all 1935); ANGELS WITH DIRTY FACES and BOY MEETS GIRL (both 1938).

In THE FIGHTING 69th, which is based on a factual presentation of the 69th's war record and set during the World War, features O'Brien in one of his best roles as Father Francis Duffy (an actual character), with Cagney playing Jerry Plunkett (a fictional character) from Brooklyn, NY, who joins the regiment. At first he defies authority and feels the world revolves around him, but when it is time for him to go out and face real combat, he changes his tune after hearing the sounds of bombs, seeing the sight of dead bodies around him, and goes into hysterical outbursts, showing that not only is he just a coward, but the one responsible for the death of several of the men in his company. In true Hollywood tradition, coward redeems himself when given a second chance, thanks to the grace of Father Duffy.

Robert Osborne, host of Turner Classic Movies, where this war story is shown, comments that THE FIGHTING 69th was one of the biggest money makers of 1940. With an all-star cast of only male performers, it presents Warner Brothers veteran stock players as George Brent, Jeffrey Lynn, Frank McHugh, Alan Hale, Dennis Morgan and Dick Foran, many playing actual men of The Fighting 69th, especially Lynn as famous poet Joyce Kilmer. In spite of it being historically inaccurate, good acting, humorous moments (especially by McHugh) and serious battle scenes make this still worth seeing. Beware of shorter prints. Originally distributed to theaters at 89 minutes, Turner Classic Movies had acquired a latter reissue 79 minute copy that eliminated the introduction of the main actors as shown through scenes/or outtakes from the movie with their faces over the names and their acting roles, along with some early portions of the story, and the closing casting credits. In order to view the complete print from the 1940 print, a 1990s video copy from MGM/UA had to be purchased or rented. After many years of having the 79 minute print presented on TCM, a complete 89 minute copy finally aired Saturday, July 29, 2006. (****)