O Preço da Glória

This is my favorite film about the Battle of the Bulge. The characters are absolutely real, and the story and screenplay are the actual experience of Robert Pirosh who was a member of the 101st Airborne and also the author and screenwriter of the film. Without getting lost in blood and gore, you nonetheless understand the death and carnage going on all around, and you feel you actually know these men. Robert Pirosh and Director William Wellman manage to bring the celebrated American sense of ironic humor to the film. That sense of humor, graveyard though it be, is one of the things that helps us, as Americans, get through times like those, and like these.

Most touching scene: The utter sadness when Pvt. Layton learns that his buddy, Pvt. Hooper, was killed by a mortar shell. William Wellman filmed Marshall Thompson from the back. The fall of his shoulders and head when they said "We didn't even find his dogtags" is an eloquence beyond words.

Most memorable repeated phrase: Pvt. Holley's "Oh, no!"

Dedicated to the battered bastards of Bastogne, this major player in the war film genre is directed by William Wellman & tells the story of a U.S. Army division involved in what became known as the Battle of the Bulge. The terrific cast features George Murphy, John Hodiak, Ricardo Montalban, Van Johnson and James Whitmore. The film was nominated for four Academy Awards and won two - one for Robert Pirosh's bold and fluctuating screenplay and one for Paul Vogel's realism inducing black-and-white cinematography.

Battleground is an important war film in many ways. Coming as it did at the tail end of the 40s, it was not required to be a flag waving morale booster for a country at war. Free of this burden, Wellman & Pirosh (an actual veteran of the Bastogne engagement), crafted a grunts eye view of the war. Forcing us the viewers to spend the whole of the movie with one army squad (the 101st Airborne Division), we get to know them, their fears & peccadilloes etc. Pirosh cleverly telling it as it was, scared men doing their duty. It's that we have been with them as their persona's have been laid bare, that makes the battle sequences even more potent. The jokes have stopped, the camaraderie and harmless rivalries replaced by men crying for their mothers or in some mud hole fighting for their lives. This snow covered and fog shrouded part of Belgium a bleak canvas for the harshness of war (amazingly shot on the lot). It's a stunningly structured film, one that doesn't resort to type, it subverts the many war film plot developments that are rife in genre pieces that both preceded and came post its release.

The cast are uniformly strong, and all get get ample time to impact on the narrative. Something that isn't always the case with ensemble pieces. Somebody else was strong too, Producer Dore Schary, who had to fight an unconvinced Louis B. Mayer (MGM head man) to get the film made. Schary's faith in the piece was rewarded as the film became a critical darling and a box office winner. It's not hard to see why for this is a realistic and gritty look at the hardships of war and those that fought in it. Influencing many that followed it by entertaining without gusto histrionics, Battleground is still very much a template war film. 8.5/10

"Battleground" is a curious film that came out of Hollywood in 1949. WWII had been over, so the public was not wishing for more war films at the time. Yet, MGM went ahead with this project and gave it to William Wellman, a veteran director who knew his craft. The film was written by Robert Pirosh.

The movie is a curiosity also because it was shot in Culver City, yet, at times, it gives the impression of having been shot on location in the Ardennes. The casting of some of the best acting talents MGM had under contract at the time contributes to give the film another dimension, as the viewer becomes involved with these men that are trying to survive during the worst possible conditions.

In spite of some of the criticism in this forum, the film has a real feeling because it stresses the dependency among the men that are caught in the conflict. Their every day lives back home is at the center of the conversation one hears the men talk about. Wives, children, sweethearts, parents, and even popular figures of the pop culture, like Bette Grable, are the basis of communication as the men idle away waiting to be called to fight the enemy.

Van Johnson, John Hodiak, Ricardo Montalban, George Murphy, Marshall Thompson, Don Taylor, Leon Ames, and a wonderful James Whitmore, are seen as the soldiers around Bastogne. Denise Darcel is seen as the kind French woman who befriends the soldiers.

Ultimately, "Battleground" is William Wellman's tribute to the men in uniform.

MGM made one of their large studios into a freezing, war-torn hell, and let many of their young stars loose within it for this staggeringly realistic dramatisation on the Battle of the Bulge. As war movies go, this one does everything but pile on the glamour; these boys really did have to do some serious acting!

The cast is headed by a surprisingly good Van Johnson, proving he can do more than just romances, musicals, and various takes on 'the boy next door'. With him are some impressive co-stars: Ricardo Montalban, George Murphy, and John Hodiak the most memorable; also James Whitmore, Don Taylor, and Leon Ames.

This movie is more than just boy's own stuff; there is a genuine story here and you do care about the characters and what happens to them. It all seems so hopeless and yet you want to keep on watching. This production caused a lot of friction at MGM as Mayer really didn't approve of the starkness of it all in the midst of his family pictures. He was wrong, 'Battleground' is one of the studio's best.

This is not a large scale multi-million dollar epic of World War Two. No thousands of extras, no wide panoramic sweep of battle scenes. This says more about The Battle of the Bulge than the movie of the same name. It's just an ordinary black and white M.G.M. production. What it lacks in size and scope it makes up for in impact.A simple story very well told, of a squad of GI's of the 101st Airborne Division, thrown into the maelstrom that was the German offensive in the Ardennes in December of 1944 against the Allied ground forces.

It's hard to believe that this film was not shot on location; but on a Metro sound stage. And Metro's Culver City was turned into the only outdoor location for the snow-covered, rubble-strewn town of Bastogne under siege, which was tenaciously held by the 101st, under the command of Brig. General Anthony McAuliffe.

With the exception of Van Johnson as Pvt. Holly who was high profile on the Metro lot in his time, and George Murphy as Pvt. Stazak, the rest of the cast were character-type actors who filled their roles perfectly. James Whitmore as Sgt. Kinnie is drilling the squad in the opening scenes.

The squad members talk of an enjoyable furlough in Paris which is suddenly cut short by the German breakthrough in the Ardenne. Ptv. Stazak hopes of going home are dashed because his authorised documents have not come through before the squad moves up front. Douglas Fowley as Pvt. Kippton seems to be the best in the squad at bellyaching.Maybe it's his dentures that make him a sourpuss. But Fowley's dentures turn into a class act; clicking away to the old song, "I Surrender Dear," through the courtesy of a German propaganda broadcast heard over the radio in a Sherman tank. Denise Darcel comes as a welcome relief of feminine pleasure; not out of place in the town of Bastogne itself. In an indoor scene, Pvt. Holly's eyeballs go into left-to-right overdrive as he stares at Denise's buxom rear end descending a flight of stairs. Then there's Holly again, nursing stolen newly-laid eggs, as valuable as gold nuggets. He's about to scramble them over a fire when the squad is told to saddle up and move out. Not for the first time does Johnson (Pvt. Holly) yell, "oh no!" A expression he's used in past movies also. The broken eggs in his upturned helmet are now a problem. In the end it's disaster. The German artillery scramble the eggs for Holly. Problem solved!

On a three man patrol, Holly, Hodiak as Janness, Montalban as Rodriguez, intercept and force a jeep carrying a Major and two sergeants to stop and identify themselves. The knowledge that Germans are infiltrating in GI uniforms has made the patrol suspicious so the Major is asked how the Dodgers made out in 1944. The Major hesitates,but the Sergeant in the rear seat asks Holly who Betty Grable is married to. Montalban shouts back, "Cesar Romero". The Major says Romero is out. "Betty Grable is married to Harry James". The tense atmosphere relaxes. The patrol is convinced they're friendly.

What is displayed authentically on this studio sound stage is the icy, bone-chilling atmosphere of the battlefield. The men hunkered down; the deeper the better, in their foxholes. Throughout nearly all this movie there is the constant rise and fall in the background of continuous artillery fire, like a rolling thunder. It never seems to cease. Sometimes it's close, sometimes distant. That, along with the freezing fog hanging like a thick whitish-grey blanket in the air, enveloping everything, gives off an atmosphere of crisis; a feeling of fearful tension. The men endeavour to dispel the fear with humour. Waiting and wondering when the enemy will appear ghost-like out of the mist-shrouded forest.

Near the end of the movie, Leon Ames gives a good performance as a Army Chaplain. Trying to explain the reason for this necessary trip to Europe, to kill off a murderous political system that has already killed off millions. Before the end, the tables turn in the Allies favour. Sergeant Kinnie notices his shadow against the snow. The sun is breaking through and the mist rises. Allied tactical air power is back in business again with a vengeance.

Veteran director William Wellman was not found wanting when he directed this movie. He had already proved himself with, "The Story of GI Joe", in 1945. Antiwar film? Any war film well made and convincing can be antiwar, and you do not need blood all over the silver screen to prove it. Antiwar or not, World War Two was a "popular" war. The reasons stuck out a mile. The Army Chaplain said so in so many words.

The Ardennes offensive caught the Allies unawares, in short, too cocksure. By late 1944, battered the German forces may have been. But they still had a few nasty shots in their locker to scare the living daylights out of the Allied Command. The allies paid the penalty in lost ground and casualties for General Eisenhower's insistence for a broad front advance. We thought the Germans had run out of fighting steam, but old Field Marshal Karl Rudolf Gerd Von Rundstedt thought different!