Le bal des maudits

More than a passing resemblance exists between Clift's Noah and the Robert E. Lee Prewitt of 'From Here to Eternity.' They are both "hard heads,' determined to live by their own special code of honor… The chief difference is that Noah is not alone… Throughout the film, he is accompanied by a friend, who has a number of reasons to be against the war… Also Noah gets the girl of his dreams… He even marries her…

'The Young Lions' retains its impact as one of the better films made about war... The combat scenes are limited in scale but brilliantly staged and photographed, with good direction of a complex script and a masterly musical score by Hugo Friedhofer…

Director Dmytryk never misses an opportunity to underline how war comes into collision with the destinies of people… When Brando encounters May Britt - as the wife of his superior officer, Maximilian Schell - she is the perfect image of Nazi vices: Corrupt, hedonistic, and, of course, condemned along with the rest of the decadent Germans… Her hazardous beauty is used as counterpoint to Brando's enthusiasm and beliefs: She represents all that is bad and immoral while he is everything noble and pure…

Dmytryk is less awkward depicting the relationship between Clift and Lange: Their Love is a natural condition… They belong together… Like Robert E. Lee Prewitt, Clift's Noah is ill-at-ease socially… When he meets Lange, his reaction is clear, spontaneous, purposeful, direct… He begins to babble a lot to make an impression on her, because, as he tells her later, "I was afraid that if I was myself you wouldn't look at me twice." But Hope was gracious enough to attend the guy… The young nice girl has at last found her favorite kind of hero…

Clift, who finds himself standing up for his rights and for principles he did not even know he had, pared his lines to the minimum needed to convey the essence of Noah Ackerman… The prison sequence is a clear and simple proof of it… The emotional urgency of the young couple is communicated through looks, small gestures, and soft and tender words of love and caring…

Nominated for Best Cinematography, Best music and Best Sound, Dmytryk's motion picture is a moving and eloquent statement of how war collides with the destinies of people and hurls them into a maelstrom

`The Young Lions' is the Second War II presented through the participation of three soldiers. Christian Diestl (Marlon Brando) is an idealistic German, son of a shoemaker. He joins the Army believing that life could improve in Germany under the administration of the Nazis. However, being a soldier, he cannot accept `acting like a police' in an occupied Paris and requests transference to the front, where he has another disappointment with the cruelty of the war. Noah Ackerman (Montgomery Clift) is a shy American Jew, a very simple man, just married with Hope Plowman (Hope Lange) and very discriminated in his platoon for being Jew. He goes to the war and leaves his family. Michael Whiteacre (Dean Martin) is a successful actor who became friend of Noah while in New York and is also obliged to join the army and go to London. There, he decides to leave the office activity and join his platoon in the front. This movie is excellent. It shows common people being used by government in a senseless war. All the main characters are peaceful common persons: Christian is a very simple person, wishing to climb socially in life in a Germany without opportunities and is misguided by the speech of Hitler and pretty soon he becomes aware how stupid war is. Noah is also a very simple person, a salesman from a department store, who indeed wishes to be with his family and join the Army just for obligation. And Michael is a selfish actor and bon vivant, without any sense of patriotism and who is not interest in anything but to have his life back. These characters are put together in a stupid war, having to kill persons to save their lives and to obey orders, which they do not agree. This movie is an excellent perspective of the stupidity of a war. My vote is eight.

An interesting vision of young men in war. The idealist, the shy and the playboy get to war. All will be changed by the horror of the conflict, not only with enemy troops, but within their ranks.

Lt. Christian Diestl's (Marlon Brando) sense of honor and gentle behavior clashes with the cruel, senseless attitude of his superior, Capt. Hardenberg, realistically played by Maximilian Schell.

Private Ackerman (Montgomery Clift) a shy unassuming Jewish boy becomes a courageous soldier, opposing both enemy soldiers and the bigotry of their comrades.

Private Withacre, a playboy who tries to avoid duty (Dean Martin), finally ends up resigning a safe post to join the fighting in Normandy, and becoming a soldier.

The usual Black and White shooting enhances the cruelty of WWII. If you find it, don't miss this performance by great actors.

The impact of love , war and death on young lives is the focus of this moving drama of War told from the American and German points of view . As a disilussionated Nazi officer , Marlon Brando , sensively considers the belief that Hitler would save Germany , but then things go wrong , as his concience troubles are disturbing him more and more until he can no longer shut his eyes to atrocities committed in the name of the Third Reich . Meanwhile Montgomery Clift enlists the Army and along with the brasher of the Americans , Dean Martin , make good friends throughout the violent war .

An atractive and spectacular warlike movie with outstanding interpretations , thrills , impressive battle scenes , emotion and various love stories . It displays a star-studded cast with the best actors by the time . Based on a famous bestseller written by Irwin Shaw with script by Edward Anhalt who along with Marlon Brando himself remoulded the central role of the young Nazi Christian . A realistic anti-war film with enjoyable message , thought-provoking issues , and showing the horror war . Marlon Brando is excellent as the disillusioned officer who comes to question his Nazi beliefs . Montgomery Clift and Dean Martin are superb as two disparate GIs made friends by a common cause , and the latter does his biggest work in his first dramatic character . They are well accompanied by an appropriate cast of beautiful women as Hope Lange , Barbara Rush, May Britt , Doris Doll , Parley Baer , among others . Adding special appearances from Lee Van Cleef , Edward Franz and special mention for the German Maximilian Schell as the ruthless officer whose wife becomes Christian's lover .

It packs an adequate and atmospheric cinematography in black and white by Joe McDonald . As well as a rousing and sensitive musical score by Hugo Friedhofer. The motion picture was professionally directed by Edward Dmytryck . He was a good craftsman who made a lot of films in all kinds of genres and of course he realized various warfare flicks , such as : "Hitler's Children" , "Back to Batan", "Mutiny", "The Caine Mutiny" , "Soldier of Fortune" , "Behind the Rising Sun" , "Anzio" and this "The Young Lions". Rating : 7/10 . Notable and essential and indispensable watching for WWII enthusiasts . Recommended for fans of the trío protagonists : Marlon Brando , Montgomery Clift , Dean Martin.

'The Young Lions,' flaws have prevented my liking it as much as I'd like to.

Mongomery Clift was too old for his role as "young man" Pvt. Noah Ackerman. Clift looks old enough to be the same age as the actor who portrays the father of Ackerman's beloved Hope. Also, the near-repetition of his 'From Here to Eternity' pugilist part feels perverse, excessive, monotonously voyeuristic. Those circumstances aside, Clift's performance finely communicates Ackerman's plaintive, good-hearted tenderness.

Brando's effort is solid, though I'd like to have seen more character development: we know nothing of Christian Diestl's upbringing in Weimar/Nazi Germany except for his revelation that he was a shoemaker's son who ran out of money midway through medical school. More could have been made of the intellect of a young skier whose medical ambitions were, in parallel with the German people's interwar ambitions toward a place in the world befitting their view of themselves, thwarted until their vile demagogue rode the wave of such ambition to utter destruction.

Dean Martin's work is adequate, but not stellar; perhaps a result of his playing the would-be shirker. In some moments his slender dramatic gifts exceed their natural power, but in most of his screen-time he seems to be coasting on his Hollywood persona's legendary charm.

Maximillian Schell's work is first-rate, but it seems to have gotten him typecast in later films as the rabid, or otherwise intrinsically flawed, Nazi officer - which he only managed to again turn into solid effect in 'The Odessa File.' Solid actresses Hope Lange and Barbara Rush aren't given much decent scripting to work with. WWII veteran-writers, the unsurpassable James Jones included, had difficulty portraying women characters: often their female characters seem stilted, if not downright stereotypes. Thus I suspect that 'The Young Lion's' screenwriters hadn't much in the original novel from which to develop its women characters. This also applies to Diestl's girlfriend Francoise (in fact, the most credible female role here is that of Simone who portrays, briefly but heart-rendingly, a woman in dread for her about-to-desert boyfriend Brandt's fate). May Britt, as the opportunistic, adulterous Frau Hardenburg, is adequate; but for her corrupt role the scriptwriters faced no great challenge.

Most preventing my liking this film are its stagey sets and lighting. There's just one superb location scene: the Afrika Korps's dawn ambush of a British unit; the other location scenes - especially of Ackerman's and Whittaker's infantry company - seem much too bucolic in the midst of history's most violent war. The other complaint I have, about this and other post-mid-50's WWII films, is that the women's hairstyles, makeup, and clothing are not of the 1940's, but of the later vogue in which such films were shot: this disjoints the viewer from belief in the period which such films attempt to portray.

'The Young Lions' script leaves much to be desired. It might have been more thoroughly fleshed out, from Irwin Shaw's novel, than it turned out to be. Its best-written scene is of Hope's father taking Noah Ackerman for a contemplative walk round the square of Hope's Vermont hometown, as it flourishes the only writing impressive in economy and power.

One glaring continuity gaffe, in the scene in which Diestl and Brandt meet Simone and Francoise: it's night, yet when Diestl leaves the studio-shot sidewalk table to pursue Francoise to the nearby riverbank, the cut shifts to a location shot made plainly at midday. Quite a few other interior-to-exterior, and vice-versa, scene shifts also detract from the 'The Young Lions' visual flow and credibility. One instance in which it succeeds is actually one in which many other WWII films suffer egregiously: 'The Young Lions' manages to seamlessly weave bits of actual WWII documentary/file footage into its narrative (in one moment, however, this doesn't work: the too-long sequence depicting the El Alamein offensive, which uses documentary clips but which also reuses Hollywood footage from, I think, 'The Desert Rats' or 'The Desert Fox'). This sequence is followed by the almost comical - yet intended to be tragical - motorcycle retreat of Diestl and Hardenburg, which is poorly done in rear-screen projection with the pair astride a bucking, but plainly otherwise stationary, motorcycle (which, by the way, is an American, not a German, bike).

One blooper I caught (but then I'm familiar with such details): after Diestl's African tour he meets Brandt in France, and in the exterior shot Diestl's wearing the old-style Wehrmacht officers cap sans silver chin cords, but when the duo steps into a building to continue conversing, in the interior shot Diestl's cap has magically sprouted the later cap style's chin cords.

An element of unreality in 'The Young Lions' is the remarkable survival rate of Ackerman's infantry squad mates - which doesn't reflect the grievous casualties suffered by U.S. units that fought from D-Day to the final campaign that ended in Germany. (Indeed, ETO commanders howled for replacements for their units' casualties; even the procrustean Patton had reluctantly to accept Negro units as replacements for his decimated formations - though to his credit Patton acknowledged the fitness and combat excellence of those Negro units, about one of which Kareem Abdul Jabbar has well-written a fitting history-cum-tribute).

Though some detail moments of 'The Young Lions' give the story enough meat for the audience to chew and digest satisfyingly, its scopic plot's enormous, world-ranging bones could not have been given enough sinew and muscle to have yielded thoroughgoing excellence, else the film would have run six or more hours. This prompts the expectation that a thoroughly-fleshed mini-series (are you listening HBO?) deserves to be adapted - much more closely and roundly than this 1958 film could have been - from Shaw's novel. In sum the major flaw of 'The Young Lions' is, despite fine acting efforts made on necessarily scant script matter, its failure to have met its ambition of capturing the whole meat of Shaw's story.