Based on Stephen Crane's classic short novel (one of the finest pieces of American literature ever written), this John Huston adaptation is an absolutely remarkable film on many levels. Huston not only directed, but also wrote the screenplay. If you watch closely you may notice that the film has very little dialogue and, if you are familiar with the book, you may notice also that the sparse bits of chat that DO make it into the film are taken almost verbatim from the source novel. With his clever script, sharp direction (Huston was in rich form, having just completed the equally remarkable The Asphalt Jungle), and a very believable performance from real-life WWII hero and debuting film star Audie Murphy, Huston went on the make one of - if not THE - finest Civil War movies ever.
Young Union soldier Henry Fleming (Murphy) is inexperienced in the realities of warfare, but he quickly realises that the brave and reckless attitude to battle that he has heard about is rather different to the real thing. When he finally reaches the front and realises the terrible danger he is in, he flees in panic. During his cowardly, if understandable, retreat he is injured by another fleeing soldier. Later, Fleming reunites with his fellow troops and, when asked what became of him in the earlier battle, he claims that his "injury" was a gunshot wound caused by an enemy bullet. The troops are satisfied by his dishonest explanation and Fleming unwisely plays up to their perception of him as a brave, wounded soldier. Later, during another skirmish with the Confederacy, Fleming has to live up to the courageous name he has carved for himself and, in a fit of rage (and perhaps guilt?), he leads a battle-charge which repels the enemy and, ironically, transforms him into a true hero.
Murphy gives a superb performance, drawing on his WWII experiences to etch a really convincing portrayal of a scared young man on the brink of potential death. Huston lets the camera linger on all his actors' faces, and their excellent expressiveness conveys a lot of the psychology of warfare. The film is visually very powerful, thanks largely to Harold Rosson's cinematography, and has about it a near-documentary feel. Also, Bronislau Kaper provides an outstanding music score which adds immeasurably to the proceedings. What is truly amazing is that the 69 minute version of this film, which I have here reviewed and given a maximum 10-out-of-10 rating, is actually a heavily cut and studio-tampered version of what Huston intended. One can only assume that his full film might have gone on to become his - and perhaps cinema's - greatest movie of all-time.
Young Union soldier Henry Fleming (Murphy) is inexperienced in the realities of warfare, but he quickly realises that the brave and reckless attitude to battle that he has heard about is rather different to the real thing. When he finally reaches the front and realises the terrible danger he is in, he flees in panic. During his cowardly, if understandable, retreat he is injured by another fleeing soldier. Later, Fleming reunites with his fellow troops and, when asked what became of him in the earlier battle, he claims that his "injury" was a gunshot wound caused by an enemy bullet. The troops are satisfied by his dishonest explanation and Fleming unwisely plays up to their perception of him as a brave, wounded soldier. Later, during another skirmish with the Confederacy, Fleming has to live up to the courageous name he has carved for himself and, in a fit of rage (and perhaps guilt?), he leads a battle-charge which repels the enemy and, ironically, transforms him into a true hero.
Murphy gives a superb performance, drawing on his WWII experiences to etch a really convincing portrayal of a scared young man on the brink of potential death. Huston lets the camera linger on all his actors' faces, and their excellent expressiveness conveys a lot of the psychology of warfare. The film is visually very powerful, thanks largely to Harold Rosson's cinematography, and has about it a near-documentary feel. Also, Bronislau Kaper provides an outstanding music score which adds immeasurably to the proceedings. What is truly amazing is that the 69 minute version of this film, which I have here reviewed and given a maximum 10-out-of-10 rating, is actually a heavily cut and studio-tampered version of what Huston intended. One can only assume that his full film might have gone on to become his - and perhaps cinema's - greatest movie of all-time.