Les derniers jours de Patton

The first Patton movie was a classic, but some stupid TV exec had to convince George C. Scott that this sequel was a good idea. Of course you wouldn't expect much from a TV movie, but this... What were they thinking? This depressing slop just seems to drag on and on, until at the end you're almost happy he's finally dead. The last few days of Patton's life would never be fit for an entire movie. The ending of one, maybe, but it should impossible to stretch Patton dying in a bed into feature length. Yet somehow they did, and even longer. My theory is that at the last minute, someone told the writer they wanted a two-parter. That would explain the huge amounts of padding in this film. My advice, stick to the original and forget this one ever existed.

... but it isn't as bad as the other commentators might make you think.

Based on Ladislas Farago's followup to Patton: Ordeal and Triumph (one of the source materials for the original film), Last Days shows Patton on his deathbed, and intercuts flashbacks, mostly of his early life, his courtship of Bea Ayers, his days at the Point and before the first world war. (Patton's adventures on Pershing's 1916 Punitive Expedition to Mexico, and in World War I could make another great film, in the right hands.)

Eva Marie Saint plays Bea very well, and it's always nice to see a pair of contemporaries playing an aging couple, rather than allowing the casting to be dictated by "who's hot," and then relying on makeup to age them.

Overall, a good movie, although I'm tempted to agree that is was an unnecessarily long movie.

I found this movie compelling to watch. Selecting only the final days of its subject's life, it is not really a biopic. There is no plot--the life of any person seldom has a plot. I call it a character study, probably the least spectacular of all dramas. What character studies lack in spectacle, they're supposed to make up for with a fascinating portrait of the subject's personality--like looking at a great oil painting of a famous person--except that it's a motion picture. Having said that, I found this film to be remarkably well done and could have been better were it not budgeted as a TV movie. I think the film's theme (rather than plot) is how a person handles his own impending death. When the subject is General Patton, a first-class soldier and real hero, a man who always wanted to die by the last bullet of the last battle of the last war of his life, and the circumstances of his dying is by a fender-bender that breaks his neck and renders him an invalid for 12 days, a recipe for a real dramatic character study emerges. How a man like Patton handled the absurdity of his transition to death is the human question that permeates the whole movie. It starts off by his return to the States for the first time since November 1942. He has his wife on his arm, and the couple is surrounded by reporters. The reporters demonstrate that, whether pro or con, Patton is a legend and he makes good copy. Beatrice at his side reminds us that he was also a family man--and a good one--a man who compliments his wife publicly. The film is filled with reminiscing flashbacks which shows two things: that Beatrice was a good match for Patton, particularly the scene where she drives the tank prototype, at her husband's request, to demonstrate the ease with which it can be driven before the Army brass; a man who is sorely tempted to see no more point to continue living is tugged one way by memories (thus, acknowledgment) of having lived a good life and tugged another way to put up a cheerful front in facing the absurd, anticlimactic present. Beatrice realizes this in a scene with General "Hap" Gay in a darkened hospital room where she reveals her understanding that her husband has everyone fooled by his charm and bravado--but her husband is slipping and he knows it. The movie shows that Patton's heroism was not an act put on for his soldiers or for the public or the press--nor was it self-delusion--his heroism ran deep--steeped as he was in his knowledge of history, his own ancestry and family, the film shows that the dying, invalid Patton was heroic in another way: he was kind and generous to his doctors and their staff; he tried greatly to spare his wife any unnecessary hurt. Even in his attitudes towards the de-Nazification policy--is not driven by any political motive. No real warrior takes any pleasure in seeing a vanquished people suffer after they've been disarmed. Given his upbringing and values he had demonstrated all his life, I believe that Patton saw his job as military governor of Bavaria to help the Bavarian people survive the winter and to get back on their feet. Even if he were wrong about de-Nazification, the film is interested in the character that drove the man. His attitude towards the Soviets was probably also driven by what he saw as very cruel and heartless conduct by the Soviet forces against the conquered German population. This movie is not for everyone. It will not entertain anyone who needs real spectacle to remain entertained. The natural audience for this kind of movie is a more mature--or emotionally deep--audience.

Following World War II and the events depicted in the wildly successful "Patton" (1970), victorious George C. Scott (as George S. Patton) remains in Germany to work on the defeated county's reconstruction. The US general's decision to employ ex-Nazis (and sympathizers) irks superior Richard Dysart (as Dwight "Ike" Eisenhower) and Patton is reassigned to a desk job. Even worse, he is involved in a serious car crash. While Mr. Scott suffers life-threatening injuries, flashbacks continue to reveal events from General Patton's young adulthood (as Ron Berglas). The title strongly hints our hero will very likely not survive...

This belated sequel to "Patton" (1970) appeared as a CBS-TV three-hour (including commercials) epic movie. It was a popular success, but surprisingly garnered only one "Emmy" award (for make-up) and one further nomination. Allyn Ferguson's music lost, but it is one of this story's main strengths. It evokes the 1940s. The more critically acclaimed 1970 film won most of that year's "Oscar" awards. It featured make-up and music that looked and sounded more like 1970 than the 1940s. The soundtrack music was beautifully composed, but Jerry Goldsmith should have added 1940s flavor, as Mr. Ferguson does...

Scott continues to breathe life into the role for which he is most famous. There isn't much excitement left in Patton's life, but Scott and director Delbert Mann manage to move it along well, considering. Both this sequel and the original 1970 "Patton" will seem too long for the average viewer. Along with an improvement in setting, "The Last Days of Patton" boasts superior supporting performances. Most valuable player is Murray Hamilton (as Hobart "Hap" Gay). And, Patton's love-life is well-represented by cheated-on wife Eva Marie Saint (as Beatrice Ayer) and former "Dark Shadows" TV regular Kathryn Leigh Scott (as Jean Gordon).

******* The Last Days of Patton (9/14/86) Delbert Mann ~ George C. Scott, Murray Hamilton, Eva Marie Saint, Kathryn Leigh Scott

Like Exorcist III, a great movie that was largely shunned by original Exorcist fans because it wasn't spooky enough, "The Last Days of Patton" is another piece of powerful cinema which was shunned by many Patton fans because it didn't have enough action. The point in both of these sequels was not to continue/rehash the heart-pounding spectacle of the first, but rather to present a quiet, heavy, introspective, script driven drama. Who else but the great George C Scott can pull this off?

"The Last Days of Patton" begins on June 7, 1945 when a victorious Patton returned to Bedford, MA to throngs of fans & reporters, and it takes us through the last 6 months of Patton's life which ended in December that same year. There's no combat, no gunfire, no "war" other than a frustrated General Patton attempting to take charge and rebuild a war-ravaged Bavaria, much to the opposition of Eisenhower's political interests. This is a quiet drama that focuses on the private hell of a soldier without a war.

George C Scott and an excellent script full of literary quotations make this an intellectual film, and I'd be lying if I said I recognized all the references. I found myself pausing the movie so I could google things like who said "Up he rose, and forth they went / Away from battleground, fortress, tent / Mountain, wilderness, field and farm / Death and the General, arm-in-arm" (save you the trouble: it's Arthur Guiterman). The character also quotes Kipling, Foutenelle, Napoleon and others, with each quote holding deep significance and insight into the mind of the general.

One of the most memorable lines, spoken as only Scott could with a mix of bitter irony and light hearted humor: "I do not suffer, my friends; but I feel a certain difficulty in existence."

Supporting actors and actresses were fantastic with a standing ovation for Murray Hamilton (Patton's friend General Hap Gay) who himself was dying of cancer during filming and passed away the month it was released, Sep 1986. Knowing this, you might be particularly affected by a scene where Hap laments the impending death of his friend Patton, a quiet but powerful monologue where he talks about the tragedy of a great life ending in such a common way.

The only "problem" with this film, through no fault of its own, is that it's in serious need of restoration. The only available copies seem to be on DVD transferred from VHS in 4:3 made-for-tv screen size. I would pay good money if this were remastered from the original 35mm print and released on blu-ray. In the first half there are stunning scenes of the European natural landscape, as well as convincing recreations of war-torn Bavaria with wrecked streets and castles. Unfortunately since this is an obscure film, we might never get that. So grab it while you can.