Men in War


1h 44m 1957
Men in War

Brief Synopsis

Two enemies join forces to save their men during a retreat from the North Koreans.

Film Details

Genre
War
Release Date
Feb 1957
Premiere Information
World premiere in Los Angeles: 25 Jan 1957
Production Company
Security Pictures, Inc.
Distribution Company
United Artists Corp.
Country
United States
Location
Los Angeles--Bronson Canyon, California, United States; Malibu Canyon, California, United States; Thousand Oaks--Hill Ranch, California, United States
Screenplay Information
Based on the novel Day Without End (Combat) by Van Van Praag (New York, 1949).

Technical Specs

Duration
1h 44m
Sound
Mono
Color
Black and White

Synopsis

On September 6, 1950, at the beginning of the Korean War, Lt. Benson and his platoon are stranded on a hillside, unable to contact division headquarters on their radio and unable to advance because their truck is beyond repair. After it is discovered that one of the men has been quietly bayoneted by a Korean sniper, Benson realizes that their one slim chance for survival is to embark on the arduous march to hill 465, where the division is located. A short time after they begin, Benson sees a speeding jeep on the horizon and determines to commandeer the vehicle. As the jeep barrels through the platoon, Sgt. Nate Lewis stops it, angering the driver, Montana, a sergeant who is accompanying his shell-shocked colonel. Brashly telling Benson "we're licked," Montana explains that the colonel, who cannot speak or walk, was too close to an exploding mine. Benson orders Montana to take the colonel out of the jeep, then tells his men to load their gear onto it. Montana draws a knife on Benson, but acquiesces and gently carries the colonel to the shade of a tree. The men then start off, walking alongside the slowly moving jeep. Sgt. Killian, the platoon mechanic, tells his young friend Cpl. Zwickley, who is feverish and afraid, that he can ride in the jeep. A short time later, radioman Sgt. Riordan is finally able to reach division, but just as he makes contact, a sniper shoots out the handset. When the sniper is shot out of the trees and no one from the platoon takes credit, Montana comes forward, admitting that he did it. Benson then draws out another sniper but when he holds his hands up in surrender, Montana goes against orders and kills him. Benson is enraged at what Montana has done until he sees that Montana correctly ascertained that the Korean had a pistol in his hat. Now realizing that he can use Montana's experience, Benson agrees to let him come with the platoon, allowing the colonel to ride and Zwickley drive. When the group resumes their slow advance, Killian is assigned to the rear watch. Unaware that he is being observed, when Killian stops to rest and pick some flowers for his helmet, he is killed by a bayonet in his back. A short time later, when the men reach a stopping point, Benson orders Montana to relieve Killian. Realizing that something is wrong, Montana calls for Benson, who puts himself into the line of fire to retrieve Killian's helmet. Hearing what has happened, an hysterical Zwickley calls out for Killian, but Benson stops him and gives him Killian's flower-adorned helmet. As they travel on, Montana recognizes faint noises in the brush signaling more snipers. After he sits down and pretends to doze, two snipers sneak up from behind him, but Montana quickly opens fire, apparently killing both. As Benson chastises Montana again for impulsively killing an enemy soldier, one of the snipers grabs his communication device and quickly broadcasts a message before Montana kills him. Because Benson knows some Korean, he tells Montana that the sniper was reporting their position, and moments later, they are barraged by enemy shells. With only six miles to go to hill 465, Benson recognizes that they must leave their position. He orders his men to wait for a lull in the shelling pattern then quickly run past the danger zone in pairs of two, in alphabetical order. When Benson calls out Montana's name, he refuses to leave the colonel, saying that his real name is Joseph R. Willomet. Most of the men make it through the shelling, and when only Montana, Zwickley, Benson and the colonel are left, they carefully move the jeep to safety. Advancing to within an hour of hill 465, as they slowly walk through a wooded area, Lewis finds a mine among the fallen leaves. Worried that his men will panic, Benson orders them to divide into two columns, one column to follow his footsteps and the other to follow Montana's. Montana balks at the order, saying that he must take care of the colonel, but when the colonel tries to say something, Montana realizes that he wants him to follow Benson's orders. Near the end of the minefield, a Korean soldier drops down from the trees and begins to fight Montana. Benson orders Montana not to shoot, and the Korean puts his hands up. He then gives Benson a UN flier and says, in Korean, that he is tired of fighting. Still suspicious, Benson orders him to lead them through the minefield. At the foot of hill 465, Benson then sends the Korean up the hill to see if anyone will fire. When a barrage of gunfire kills him, Benson assumes that the soldiers at the top are American. A moment later, three men in American uniforms appear at the top of the hill and call out "Hey, G.I.s." Although some of Benson's men are elated, Montana immediately opens fire and kills the three soldiers, who, when their bodies roll down the hill, are revealed to be Korean. After lashing out at Montana for always being right and for saying it is better to shoot first and ask questions later, Benson breaks down, yelling that they are all alone, that nothing exists beyond the hill. That evening, as they take refuge in a cave, Benson recovers his composure as the loyal Riordan and others sneak up the hillside to see the ridge. Benson then allows Montana to leave with the colonel, even though Montana thinks Benson is a fool to think that only twelve men can take the hill. As the men prepare to attack the hill, Benson tells Zwickley that he can stay in the cave, but Zwickley, now wearing Killian's helmet, summons the courage to join the maneuver. Benson goes forward to draw enemy fire, while his men take position. From a distance, the colonel sees what is happening and, without Montana realizing it, starts to come to life. The colonel then rushes out of the jeep toward the action. Montana yells after him, but the colonel keeps going, even after he is temporary knocked down by the force of an exploding grenade. Using all of his strength, the colonel gets to the top of the ridge and kills two Korean gunners but is himself killed by a third. When his body rolls down the hill, Montana finds him and drags him to safety. As Montana lovingly tries to make the colonel comfortable, the colonel smiles and says "son," then he hands Montana two Silver Stars from his pocket. Wracked with grief for the man who had been like a father to him, Montana opens fire on the enemy. A short time later, Montana and Benson appear to be the only Americans alive. Although Benson is despondent and bitterly says that Montana should kill him if he wants to keep killing, Montana suggests that the two of them could take the hill. Although he is sure it is hopeless, Benson agrees. As they exchange fire and grenades with the Koreans at the top of the hill, Benson and Montana are joined by Riordan, the only other G.I. still alive. Exhausted, they fall asleep and wait for certain death in the morning. However, when they awaken, they hear the sound of approaching American forces. Now Benson asks for the Silver Stars that the colonel had given Montana, medals that the colonel did not have time to hand out. As Benson reads the names of all of his men who have died, Montana tosses the medals over the hill in their memory. When Montana asks if he will say anything about the colonel, Benson replies, "I don't think we have to say anything for him."

Film Details

Genre
War
Release Date
Feb 1957
Premiere Information
World premiere in Los Angeles: 25 Jan 1957
Production Company
Security Pictures, Inc.
Distribution Company
United Artists Corp.
Country
United States
Location
Los Angeles--Bronson Canyon, California, United States; Malibu Canyon, California, United States; Thousand Oaks--Hill Ranch, California, United States
Screenplay Information
Based on the novel Day Without End (Combat) by Van Van Praag (New York, 1949).

Technical Specs

Duration
1h 44m
Sound
Mono
Color
Black and White

Articles

Men in War


"Tell me the story of the foot soldier and I will tell you the story of all wars." This quote opens the only war film by Anthony Mann, one of the great American directors of westerns and helmer of the most muscular epics of the 1960s. In contrast to his expansive costume epics, with their lavish historical recreations and grand presentations of armies of men battling on massive battlefields, or the more personal conflicts of the westerns played out against the majestic landscapes of the American West, Men in War (1957) is combat in close-up. While the story of a band of American soldiers trying to survive a mission behind enemy lines belongs to the familiar platoon genre of war movies, it is a maverick film in all other respects. Like Sam Fuller's equally provocative 1951 Korean War drama The Steel Helmet, it eschews patriotism and sentimentality for a portrait of war from the grunt's-eye view: the harrowing, grueling experience of survival in the hostile landscape of an enemy battlefield.

The camera rises from behind a wrecked jeep to survey the smoking aftermath of a battlefield, identified only as: "Korea, September 6, 1950." A radioman whispers into a handset, trying to reach an American authority that isn't there. The platoon is exhausted, men reaching the breaking point or already broken, and the unseen enemy surrounds them, sneaking through their makeshift perimeter to kill them in their sleep or picking them off one by one as they trudge through the countryside. It's only the strength and certainty of their commanding officer, Lt. Benson (Robert Ryan), that holds them together in this no man's land. With no contact with command, they are left only with their last orders: get to Hill 465, an abstract location some fifteen miles away which may or may not be held by American troops. It's a mission embarked upon on faith but Benson doesn't allow doubt to creep into his command. They haven't any other options so they haul all the ammunition they can carry and hike out through enemy territory.

When an American jeep speeds through their procession, driven like a madman by a gruff sergeant who identifies himself only as Montana (Aldo Ray) and ferrying a shell-shocked Colonel (Robert Keith) strapped helplessly into the passenger seat, Benson commandeers the vehicle and drafts the insolent, insubordinate Montana into helping them. Montana is attuned to his environment in a way no one in Benson's company even approaches, his battlefield-honed training and instincts picking out enemies sneaking in the field and snipers hidden in the trees. "You don't have to see them to kill them," he remarks to Benson with a cold smile. They are contrasts in soldiering. Ryan delivers one of his most understated portraits of strength and experience as the commanding officer dedicated to protecting his men while fulfilling his duty, bringing warm but firm leadership and maintaining a front of confidence and calm authority in a desperate situation to keep his men from unraveling in panic. Ray, a real-life World War II veteran who saw action on Iwo Jima, is completely convincing as the brutally effective soldier whose deep devotion to his Colonel has overwhelmed his sense of military duty but whose superior skills and soldiering instincts are essential to keeping Benson's platoon alive. Robert Keith gives a powerful and affecting performance as a career officer locked in a state of near paralysis, communicating his vulnerability, his fear and his slow awakening almost entirely through his eyes and the slightest gestures of body language. Mann never resorts to putting the wordless communication between this spiritual father and son into dialogue. Keith's eyes and Ray's actions speak for themselves.

Anthony Mann sets it all in an almost abstract landscape of dry woods and scrub hills (this Korea has an unmistakable resemblance to Southern California, thanks to location shooting around Bronson Canyon, Malibu Canyon and the Hill Ranch at Thousand Oaks). He offers no sense of their place in the larger picture-no establishing shots, no scenes of high command discussing the campaign, no maps. The enemy is seen mostly as disembodied weapons poking out from the brush or camouflaged shapes crawling through the foliage. This is war in microcosm, seen from the inside out. Mann favors close-ups to wide shots, focusing largely on the men between skirmishes, waiting in the silence and tension for the next attack out of nowhere. The anxiety takes its toll, especially on the jangled nerves of one veteran soldier (Nehemiah Persoff) who begins to unravel in the opening scene and ultimately falls into sheer panic.

Philip Yordan is credited with the screenplay of Men in War, though this prolific screenwriter was also a very busy "front" for blacklisted screenwriters throughout the fifties and early sixties and many contemporary film historians attribute the adaptation of Van Van Praag's novel "Day Without End (Combat)" to Ben Maddow (The Asphalt Jungle, 1950). Whoever is responsible, it is an intelligent script that avoids the familiar tropes of the platoon drama. There is no cross-section of American culture on display here, no roll call of familiar G.I. types, no patriotic speeches or political justifications for the war. The dialogue is stripped down yet evocative and the characters simply but effectively sketched without resorting to sentimental stories of life back home or dreams of the future after the war is over. As Ryan explains to his men: "Regiment doesn't exist. Battalion doesn't exist. The U.S.A. doesn't exist. We're the only ones left to fight this war." He might as well have said that past and future don't exist. They are focused on surviving now.

Men in War was a low budget film by Mann's usual standards, produced by the ambitious independent Security Pictures for about $1 million, but he carved out his vision with a solid cast and high production values. Oscar®-winning cinematographer Ernest Haller keeps the film intimate, despite the fact it's entirely shot outdoors, and the music by rising star composer Elmer Bernstein maintains the intimate feel with an understated score. The U.S. Army initially cooperated with the film but, according to The Hollywood Reporter, objected to the finished film and refused to participate in the premiere because of scenes that offended "the dignity of commissioned and non-commissioned officers." It's hard to understand such objections today. Not only one of Mann's best films, it remains one of the greatest, and most stark, war movies ever made.

Producer: Sidney Harmon; Anthony Mann (uncredited)
Director: Anthony Mann
Screenplay: Philip Yordan (writer); Van Van Praag (novel "Day Without End {Combat}")
Cinematography: Ernest Haller
Art Direction: Frank Paul Sylos (uncredited)
Music: Elmer Bernstein
Film Editing: Richard C. Meyer
Cast: Robert Ryan (Lt. Benson), Aldo Ray (Montana Willomet), Robert Keith (The Colonel), Phillip Pine (Sgt. Riordan), Nehemiah Persoff (Sgt. Lewis), Vic Morrow (Cpl. Zwickley), James Edwards (Sgt. Killian), L.Q. Jones (Sgt. Davis), Scott Marlowe (Pvt. Meredith).
BW-102m.

by Sean Axmaker
Men In War

Men in War

"Tell me the story of the foot soldier and I will tell you the story of all wars." This quote opens the only war film by Anthony Mann, one of the great American directors of westerns and helmer of the most muscular epics of the 1960s. In contrast to his expansive costume epics, with their lavish historical recreations and grand presentations of armies of men battling on massive battlefields, or the more personal conflicts of the westerns played out against the majestic landscapes of the American West, Men in War (1957) is combat in close-up. While the story of a band of American soldiers trying to survive a mission behind enemy lines belongs to the familiar platoon genre of war movies, it is a maverick film in all other respects. Like Sam Fuller's equally provocative 1951 Korean War drama The Steel Helmet, it eschews patriotism and sentimentality for a portrait of war from the grunt's-eye view: the harrowing, grueling experience of survival in the hostile landscape of an enemy battlefield. The camera rises from behind a wrecked jeep to survey the smoking aftermath of a battlefield, identified only as: "Korea, September 6, 1950." A radioman whispers into a handset, trying to reach an American authority that isn't there. The platoon is exhausted, men reaching the breaking point or already broken, and the unseen enemy surrounds them, sneaking through their makeshift perimeter to kill them in their sleep or picking them off one by one as they trudge through the countryside. It's only the strength and certainty of their commanding officer, Lt. Benson (Robert Ryan), that holds them together in this no man's land. With no contact with command, they are left only with their last orders: get to Hill 465, an abstract location some fifteen miles away which may or may not be held by American troops. It's a mission embarked upon on faith but Benson doesn't allow doubt to creep into his command. They haven't any other options so they haul all the ammunition they can carry and hike out through enemy territory. When an American jeep speeds through their procession, driven like a madman by a gruff sergeant who identifies himself only as Montana (Aldo Ray) and ferrying a shell-shocked Colonel (Robert Keith) strapped helplessly into the passenger seat, Benson commandeers the vehicle and drafts the insolent, insubordinate Montana into helping them. Montana is attuned to his environment in a way no one in Benson's company even approaches, his battlefield-honed training and instincts picking out enemies sneaking in the field and snipers hidden in the trees. "You don't have to see them to kill them," he remarks to Benson with a cold smile. They are contrasts in soldiering. Ryan delivers one of his most understated portraits of strength and experience as the commanding officer dedicated to protecting his men while fulfilling his duty, bringing warm but firm leadership and maintaining a front of confidence and calm authority in a desperate situation to keep his men from unraveling in panic. Ray, a real-life World War II veteran who saw action on Iwo Jima, is completely convincing as the brutally effective soldier whose deep devotion to his Colonel has overwhelmed his sense of military duty but whose superior skills and soldiering instincts are essential to keeping Benson's platoon alive. Robert Keith gives a powerful and affecting performance as a career officer locked in a state of near paralysis, communicating his vulnerability, his fear and his slow awakening almost entirely through his eyes and the slightest gestures of body language. Mann never resorts to putting the wordless communication between this spiritual father and son into dialogue. Keith's eyes and Ray's actions speak for themselves. Anthony Mann sets it all in an almost abstract landscape of dry woods and scrub hills (this Korea has an unmistakable resemblance to Southern California, thanks to location shooting around Bronson Canyon, Malibu Canyon and the Hill Ranch at Thousand Oaks). He offers no sense of their place in the larger picture-no establishing shots, no scenes of high command discussing the campaign, no maps. The enemy is seen mostly as disembodied weapons poking out from the brush or camouflaged shapes crawling through the foliage. This is war in microcosm, seen from the inside out. Mann favors close-ups to wide shots, focusing largely on the men between skirmishes, waiting in the silence and tension for the next attack out of nowhere. The anxiety takes its toll, especially on the jangled nerves of one veteran soldier (Nehemiah Persoff) who begins to unravel in the opening scene and ultimately falls into sheer panic. Philip Yordan is credited with the screenplay of Men in War, though this prolific screenwriter was also a very busy "front" for blacklisted screenwriters throughout the fifties and early sixties and many contemporary film historians attribute the adaptation of Van Van Praag's novel "Day Without End (Combat)" to Ben Maddow (The Asphalt Jungle, 1950). Whoever is responsible, it is an intelligent script that avoids the familiar tropes of the platoon drama. There is no cross-section of American culture on display here, no roll call of familiar G.I. types, no patriotic speeches or political justifications for the war. The dialogue is stripped down yet evocative and the characters simply but effectively sketched without resorting to sentimental stories of life back home or dreams of the future after the war is over. As Ryan explains to his men: "Regiment doesn't exist. Battalion doesn't exist. The U.S.A. doesn't exist. We're the only ones left to fight this war." He might as well have said that past and future don't exist. They are focused on surviving now. Men in War was a low budget film by Mann's usual standards, produced by the ambitious independent Security Pictures for about $1 million, but he carved out his vision with a solid cast and high production values. Oscar®-winning cinematographer Ernest Haller keeps the film intimate, despite the fact it's entirely shot outdoors, and the music by rising star composer Elmer Bernstein maintains the intimate feel with an understated score. The U.S. Army initially cooperated with the film but, according to The Hollywood Reporter, objected to the finished film and refused to participate in the premiere because of scenes that offended "the dignity of commissioned and non-commissioned officers." It's hard to understand such objections today. Not only one of Mann's best films, it remains one of the greatest, and most stark, war movies ever made. Producer: Sidney Harmon; Anthony Mann (uncredited) Director: Anthony Mann Screenplay: Philip Yordan (writer); Van Van Praag (novel "Day Without End {Combat}") Cinematography: Ernest Haller Art Direction: Frank Paul Sylos (uncredited) Music: Elmer Bernstein Film Editing: Richard C. Meyer Cast: Robert Ryan (Lt. Benson), Aldo Ray (Montana Willomet), Robert Keith (The Colonel), Phillip Pine (Sgt. Riordan), Nehemiah Persoff (Sgt. Lewis), Vic Morrow (Cpl. Zwickley), James Edwards (Sgt. Killian), L.Q. Jones (Sgt. Davis), Scott Marlowe (Pvt. Meredith). BW-102m. by Sean Axmaker

Quotes

Trivia

Notes

The film opens with the following unidentified quotation: "Tell me the story of the foot soldier and I will tell you the story of all wars." Throughout the film, Robert Keith, who portrayed "The colonel," had no dialogue. Late in the film his character tries to speak at two different junctures but cannot. His only word of dialogue comes just before he dies when he says "son" to the character "Montana," played by Aldo Ray.
       According to various Hollywood Reporter news items, portions of the film were shot at the following Southern California locations: Bronson Canyon, Malibu Canyon and at the Hill Ranch in Thousands Oaks. Other news items add that the film's scoring was done at the Samuel Goldwyn Studios and that star Robert Ryan had a profit participation deal with producers Sidney Harmon and Philip Yordan. Although an early press release contained in the film's file in the AMPAS Library indicates that it was to be a Philip Yordan Productions, Inc. production, only Security Pictures was listed in later sources as the production company. Some modern sources state that Yordan acted as a front for blacklisted screenwriter Ben Maddow and that Maddow actually wrote the film. According to WGA information, however, no change in the credits had been designated for the film, and none had been requested as of 2005.
       As noted in a February 21, 1957 Hollywood Reporter news item, the U.S. Army (which the film's pressbook indicated had cooperated in the film's production) later objected to it. According to the news item, the Army refused to participate in a planned premiere in St. Louis, MO because scenes within the film allegedly offended "the dignity of commissioned and non-commissioned officers." According to a August 6, 1957 Hollywood Reporter news item, the film was made for under $1,000,000 and, although it took in only $500,000 domestically at the box office, it took in over $2,000,000 outside the U.S.
       Actor Anthony Ray, who portrayed "Penelli" in the film, was the son of director Nicholas Ray. Men in War marked his motion picture debut. The film also marked the first United Artists release for director Anthony Mann and the only war/combat film made by the director, who is most notable for his Westerns from the 1940s and 1950s. Men in War was also the first of two films in which Mann directed Ryan and Aldo Ray. In 1958 Ryan and Ray co-starred in Mann's God's Little Acre.