The beginning of this short has LEE MARVIN reporting for work in London enroute to a filming location 17 miles northeast of the city where some of the early scenes for THE DIRTY DOZEN are being shot. In the film, Marvin plays the leader of a dozen prisoners selected to destroy a Nazi hideout who will be rewarded for their efforts.
The narrator claims that Marvin considered it his toughest assignment to date, having to learn judo and commando tactics as the trainer of men at an army prison compound. The actors are shown doing a few strenuous stunts under the supervision of director Robert Aldrich, who has quite a job supervising all the equipment, tanks and crew needed for this project.
For the final scene, destroying the Nazi headquarters, they move to a new locale where split second timing is needed for actor JIM BROWN, who has to set off the initial explosion. The castle, which took four months to build and six months of planning to destroy, is shown at the film's explosive climax.
The actors are shown in town at the end of a six day work week, enjoying a meal and touring around the mod Carnaby street area of London before returning to work on the set.
An interesting, all too brief look at film-making procedures.
The narrator claims that Marvin considered it his toughest assignment to date, having to learn judo and commando tactics as the trainer of men at an army prison compound. The actors are shown doing a few strenuous stunts under the supervision of director Robert Aldrich, who has quite a job supervising all the equipment, tanks and crew needed for this project.
For the final scene, destroying the Nazi headquarters, they move to a new locale where split second timing is needed for actor JIM BROWN, who has to set off the initial explosion. The castle, which took four months to build and six months of planning to destroy, is shown at the film's explosive climax.
The actors are shown in town at the end of a six day work week, enjoying a meal and touring around the mod Carnaby street area of London before returning to work on the set.
An interesting, all too brief look at film-making procedures.