Un château en enfer

Unusual (more realistic - and surrealistic - than in other films) point of view on horrors of war, good directing and a strong cast. I liked this film very much when I saw it about 25 years ago in the Cinématheque (long live Yugoslav and now Slovenian Kinoteka). Unfortunately, the copy wasn't as good as the film itself. There were some missing parts so I'd like to check out this one again.

What good movies Sydney Pollack made in his early days! I highly recommend his Slender Thread, The Scalphunters, They Shoot Horses..., Jeremiah Johnson and this one. Very unusual films for Hollywood standards, very brave, and as it seems timeless.

In an interview Mr. Pollack once said that he thinks Castle Keep was way ahead of its time. The audience wasn't ready to cope with such a look at war. I wonder if it is ready now? Castle Keep recommended to all non-formula film lovers around the world.

9/10

Saw the movie yesterday. I liked the fact that there was noshow and glamour about the soldiers, they are dirty and tired, they actually look like a war is going on. The whole castle theme adds an interesting poetic dimension to the story. The characters are brilliantly developped, as there seems to be a personal quest to each and everyone of the squad, the yougster wants to go to the red queen, the local whorehouse etc... The count or baron and his wife are by far the trippiest characters, i didn t understand their story but they are some kind of magical couple in theire fairy tale castle. The wife Therese is mesmerizing as she is of outstanding beauty (Astrid Heelen). The combat sequences do not look fake, the tanks, and bazookas are cool. As I said it actually looks and sounds like war, with blood and explosions... It is a great movie for those of you who, like me, enjoy those artsy, semi fantastic retro movies with a beautifull female character.

Thanks to this film, I can never entirely think of "Private Benjamin" as a comedy about a society girl in the army (not that this one doesn't have a lot of funny moments, of the very strange kind). "Hessian" is right - it's so strange, you almost have to either love or hate it, and I'm completely attached to it. With the kinds of actors in it, it's really hard to think of anyone as especially standing out, but (as attached as I've always been to Burt Lancaster) the answer would almost have to be Patrick O'Neal as Beckman. It took me a long while to think of it, but he's almost like the Eleanor character in The Haunting, because of the way he's taken over by the castle completely, and his "private war" with the major because of it. One of the best scenes was between him and Private Benjamin (played by Al Freeman Jr.), who was pictured as his "soulmate" in a way. Beckman admitted that he'd been a war hero (before the beginning of the story), but he wrote it off as being temporarily crazy. Benjamin said, "But you'd fight to save this castle." Beckman said, "Yes - but I don't know who. Which side."

One of the best funny lines was one of Peter Falk's - "Swim the moat? What the hell war is this?"

I had been wanting to check this one out for over 20 years (it used to be available as a VHS rental at the local outlet but I never got around to it) but especially after reading up on the film on the internet since its 2004 DVD release(s) where its unusual "artiness" a'-la Alain Resnais' LAST YEAR IN MARIENBAD (1961) was played up. Now that I've watched CASTLE KEEP for myself, all I can say is that it's arguably the strangest mainstream war movie ever and decidedly not for all tastes!

The relatively large cast (for what turns out to be an introspective film) is uniformly excellent and is well up to the requirements of the brilliantly surreal, funny and literate script; Burt Lancaster, wearing an eye-patch throughout, has an unsympathetic role as the formidable leader of a group of misfit soldiers taking over a Belgian castle against unseen invading German troops. He is skillfully abetted by Peter Falk (as a soldier who abandons his post to indulge in his vocation as a baker), Jean-Pierre Aumont (as the "degenerate" owner of the titular castle), Patrick O'Neal (as a celebrated art historian all at sea on the battleground but well in his element surrounded by the castle's objets d' art), Scott Wilson (as a soldier who gets into quite a unique relationship – more on this later), Tony Bill (as the most spiritual of the men) and, the other side of the coin, Bruce Dern as a Bible-thumping conscientious objector who walks the Belgian rubbles with his ragged band of revivalist deserters-followers. The terrific cinematography of the awesome European locations – courtesy of Henri Decae – is complimented by a fine Michel Legrand score and, when they finally come, spectacular battle sequences.

But it's the odd, surreal touches – including Scott Wilson falling in love with a Volkswagen, the same car rising from the sea after it has been drowned by his envious companions and floating ashore all by itself, the moving sequence between Tony Bill and an unseen German soldier (subsequently needlessly shot by Peter Falk) where the latter teaches the former how to play the flute correctly, the unusually realistic talk of fornication, sexual organs, impotence, the ambiguous (perhaps ghostly) nature of the characters involved and the events being enacted, etc. – which really make this show stand out from the crowd of WWII spectaculars and stick in one's memory – not to mention endear it to its legion of fans (who have famously decried online its original abominable pan-and-scan DVD incarnation, forcing Sony to re-release it in the correct Widescreen aspect ratio a mere four months later). The theme of the relevance of art in times of war brings forth comparisons to John Frankenheimer's THE TRAIN (1964), also starring Burt Lancaster, whose third (and final) collaboration with director Sydney Pollack – after the previous year's THE SCALPHUNTERS and THE SWIMMER (where Pollack replaced original director Frank Perry but goes uncredited) – this proved to be…perhaps as a result of the critical beating the film received upon its original release!

I remember watching Castle Keep many times as a youngster. The film was a staple on local TV and showed up several times a year. I loved it then and recently saw it again, for the first time in 20 years, on TCM. The film has lost none of its lustre and in its widescreen format is even better than before. Cinematographer Henri Decae (The 400 Blows) creates a surreal fairytale atmosphere without sacrificing wartime realism in this tale of stranded GIs in the Ardennes at the end of World War II. The squad, led by an eye-patched Burt Lancaster, try to halt the German advance by hunkering down in a medieval castle that has been miraculously unaffected by the tribulations of the war. The film has echoes of Cocteau's Beauty and the Beast and it's stylistic contemporary, King of Hearts, but stands on it's own as a superb philosophical exploration of warfare and violence. If you enjoyed A Midnight Clear, you will enjoy Castle Keep.