Film Review: Kelly’s Heroes (dir by Brian G. Hutton)


1970’s Kelly’s Heroes takes place in France during the Second World War.  The American army is moving through the country, liberating it town-by-town.  Private Kelly (Clint Eastwood) is a former lieutenant who was busted down in rank after leading a disastrous raid on the wrong hill.  (It was the fault of the generals but Lt. Kelly was set up as a scapegoat.)  When Kelly learns that the Germans are hiding a huge amount of gold in an occupied town, he gathers together a team of weary soldiers, misfits all, and plans to go AWOL to steal the gold for themselves.

Kelly’s Heroes was one of the big budget studio films that Eastwood made after finding stardom in Europe with Sergio Leone’s Spaghetti westerns.  This is very much an ensemble film, in the vein of The Dirty Dozen.  Indeed, Eastwood’s co-star, Telly Savalas, was in The Dirty Dozen.  Here, Savalas plays Big Joe, the sergeant who isn’t sure that he wants to put his men in danger for gold that may or may not exist.  Don Rickles plays Crapshoot who is …. well, imagine Don Rickles in the middle of World War II and you have a pretty good idea of who Crapshoot is.  Stuart Margolin, Harry Dean Stanton, Perry Lopez, Gavin MacLeod shows up as soldiers.  Carroll O’Connor plays the bombastic general who mistakes Kelly’s attempts to go AWOL for a brilliant tactical maneuver,  Like all of the senior officers in this film, O’Connor’s general is a buffoon.  Kelly’s Heroes was made during the Vietnam War and, much like Patton (released the same year), it attempts to appeal to both the establishment and the counterculture by making the heroes soldiers but their bosses jerks.

And that brings us to Donald Sutherland, who plays a tank commander named Oddball.  You may not have know this but apparently, there were hippies in the 40s!  Actually, I don’t think that’s true but there’s really no other way to describe Oddball than as a Hollywood hippie.  He’s a blissed-out, spacey guy who thinks nothing of accidnetally driving his tank through a building.  The films ask us to believe that the long-haired and bearded Oddball is a World War II tank commander and Sutherland is such a likable presence that it’s temping to just go with it.  Oddball was obviously included to bring in “the kids” but he does generate some needed laughs.  This is a very long movie and the comedic moments are appreciated.

Kelly’s Heroes is two-and-a-half hours long and it definitely could have been shorter.  Director Brian Hutton allows some scenes to drag on for a bit too long and he sometimes struggles to balance the moments of comedy with the moments of violent drama (quite a few character dies) but he does get good performances from his ensemble.  Eastwood’s taciturn acting style is nicely matched with Savalas’s more expressive style and it’s hard not smile at Don Rickles, insulting everyone as if they were guests at Joe Gallo’s birthday party.  The film, at times, doesn’t seem to know if it wants to be a satire or a straight heist film but the cast keep things watchable.  Eastwood even gets to show a few hints of the dry sense of humor that always hid behind the perpetually bad mood that often seemed to hang over him in his early films.  Whatever flaws the film may have, it was a box office success.  One year after this release of Kelly’s Heroes, Eastwood would make history as Dirty Harry.

Horror on TV: The Veil Episode 8 “Summer Heat” (dir by George Waggner)


On tonight’s episode of The Veil.

There’s been a murder!  Or has there?  Edward Paige (Henry Bartell) swears that he saw someone murdered in a nearby apartment but, when the police investigate, they discover that the apartment appears to be totally deserted.  Still convinced that he saw something, Edward is sent for a psychiatric evaluation from Dr. Mason (Boris Karloff, playing a sympathetic role for once).  Dr. Mason says that Edward’s not making it up.  Edward swears that he saw something.  But what?

This is a pretty good episode.  Think of it as being Rear Window with an extra twist.  Boris Karloff hosts as well as co-stars.

Enjoy!

Lisa Reviews An Oscar Nominee: The Pride of the Yankees (dir by Sam Wood)


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“People all say that I’ve had a bad break. But today … today, I consider myself the luckiest man on the face of the Earth.”

— Lou Gehrig (Gary Cooper) at the end of The Pride of the Yankees (1943)

After airing Foreign Correspondent earlier tonight, TCM followed up by showing the 1943 best picture nominee, The Pride of the Yankees.  Knowing that Pride of the Yankees was going to be a baseball film and that I know next to nothing about baseball, I recruited my sister, the Dazzling Erin, to watch the movie with me.  Erin loves baseball and I knew that she would be able to explain anything that went over my head.

Well, I absolutely loved watching this movie with my sister but it turns out that The Pride of the Yankees isn’t really much of a baseball movie.  True, it’s about a real life baseball player.  Several actual players appeared as themselves.  About 85% of the film’s dialogue deals with baseball and probably about 70% of the film features characters playing some form of the game.  But the film never goes into any great detail about baseball or how it’s played.  There’s no talk of strategy or rules or deeper meaning or anything else.  Going into the film, I knew that baseball was a game that involved throwing, swinging bats, and running.  And it turns out that was all that I needed to know.

The Pride of the Yankees is less about baseball and more about celebrity.  It’s a biopic of Lou Gehrig, who today is best known for his battle with ALS, a disease that is also known as Lou Gehrig’s disease.  Lou Gehrig died on June 2, 1941 and The Pride of the Yankees was released just a year later.  Watching the film, it’s obvious that Gehrig was a beloved figure, the type of celebrity who, if he were alive today, would probably be the center of stories like, “Lou Gehrig Did Something This Weekend And It Was Perfect.”  Watching the film, it easy to imagine how traumatic it must have been for the nation when a beloved athlete like Lou Gehrig died at the age of 37.

As a result, The Pride of the Yankees is less a biopic and more a case for canonization.  From the minute that the film’s Lou Gehrig appears on-screen, he is presented as being the type of saintly athlete who, by promising to hit two home runs in one game, inspires a crippled child to walk.  Lou is modest, kind, unpretentious, and never gets angry.  Over the course of the film, he takes care of his mother, displays a worthy work ethic, and marries Eleanor.  He and Eleanor have a perfect marriage without a single argument or a hint of trouble, except for the fact that Lou sometimes gets so busy playing baseball with the local children that he’s late coming home.  There’s not a hint of sadness in their life, until Lou suddenly gets sick.

And really, it should not work.  If ever there’s ever been a film that should be painfully out-of-place in our more cynical times, it would be The Pride of the Yankees.  However, the film still works because Lou is played by Gary Cooper and Eleanor is played by Teresa Wright.  These two excellent performers bring their considerable talents to making overly sentimental scenes feel credible.  Gary Cooper was 40 years old when he made The Pride of the Yankees and there’s a few scenes — especially the ones where Lou is supposed to be a student at Columbia University — where Cooper is clearly too old for the role.  But, for the most part, Gary Cooper did a great job as Lou Gehrig.  Cooper is especially memorable when Lou first starts to show signs of being ill.  Watching Lou struggle to swing a bat, I was reminded of a horse struggling to stand on an injured leg.  It was almost painfully poignant.

The Pride of the Yankees was nominated for 11 Academy Awards, including best picture.  However, it lost to another sentimental film that featured Teresa Wright, Mrs. Miniver.