I gave this movie a rave review when I previewed it at a trade screening in 1959, commenting that director Lewis Milestone was still the master of action battle sequences and that the movie was brilliantly photographed by Sam Leavitt, an expert in difficult location cinematography. On a second viewing, however, the movie is not as impressive. The characters are ciphers. Although we critics often complain about the stereotyped characters and the all-too-cozy flashbacks of the typical war picture, that doesn't mean that they should be replaced by shadows. The Gregory Peck character is just too tight-lipped and we know little about him. Similarly, Woody Strode's cowardice and malignity are merely taken for granted and never explained. Ditto Robert Blake's confusion and heroism – an interesting blend and doubtless realistic, but still a shadow. Yet incorporated within all this enthusiastic realism, we get the unlikely coincidence of the brother-in-law! Milestone's gritty direction with its sweeping tracking shots over craters of dead, becomes the film's justification, but the script's overall anti-Chinese philosophy now seems more dated than the anti-German stance of All Quiet on the Western Front. For all its gritty realism, locations, black-and-white photography, lack of background music (enemy records are used very effectively), this movie is more a pro-American tract for the times, whereas All Quiet delivers a message for all time.
Review of Pork Chop Hill
