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  • Film question

    I remember seeing a blck and white American movie but I cant remember the name of it.

    A platoon of soldiers were having to defend a mountain pass whilst the Army retreats. It is set in the winter and there is a scene with a minefield. They were hold up in a cave if I remember right.

    At the end the Chinese/North Koreans attacked with tanks.

    Anyone know the name of the film? I've seen it twice but along time ago. I remember it being very gritty and a good film.
    Lesliesplace forum

    Leslies place. Come on in and enjoy the company of a few good people.

  • #2
    Pork Chop Hill? I believe that is the name of the movie you was talking about and I haven't see that movie for long time, but i think that it.

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    • #3
      Originally posted by Wodin
      I remember seeing a blck and white American movie but I cant remember the name of it.

      A platoon of soldiers were having to defend a mountain pass whilst the Army retreats. It is set in the winter and there is a scene with a minefield. They were hold up in a cave if I remember right.

      At the end the Chinese/North Koreans attacked with tanks.

      Anyone know the name of the film? I've seen it twice but along time ago. I remember it being very gritty and a good film.
      As Leatherneck said its Pork Chop Hill starring Gregory Peck, Rip Torn and Martin Landau. Its okay but I wouldn't call it great.

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      • #4
        I've never heard of it.
        There cannot be a crisis next week. My schedule is already full. -Henry Kissinger

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        • #5
          I remember Pork Chop Hill, I enjoyed it. Here is another for you guys. In this movie an American squad takes refuge in a Buddist (I believe) holy building.

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          • #6
            Originally posted by Priest
            I remember Pork Chop Hill, I enjoyed it. Here is another for you guys. In this movie an American squad takes refuge in a Buddist (I believe) holy building.
            The only one that comes to mind is "The Sand Pebbles" with Steve McQueen and Richard Attenborough.

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            • #7
              Porkchop Hill is about a US company attacking to take a vital hill during the peace negotiations so this ain't it. The Sand Pebbles is set in China during the 1920's.

              Can't help with the first one, but the second sounds with the temple like one I saw a long time ago, except it was a British patrol. IIRC Stanley Baker was in it.
              What God abandoned, these defended,
              And saved the sum of things for pay.

              A.E. Housman
              [ 1859-1936 ]

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              • #8
                Originally posted by Marines
                The only one that comes to mind is "The Sand Pebbles" with Steve McQueen and Richard Attenborough.
                No, that's set in China, 1926.
                Lance W.

                Peace through superior firepower.

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                • #9
                  Originally posted by Lance Williams
                  No, that's set in China, 1926.
                  I know but its the only one I can remember that takes place in a monastery.

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                  • #10
                    Originally posted by Marines
                    I know but its the only one I can remember that takes place in a monastery.
                    The sad thing is; I know the movie he is talking about and I can't remember the name of it or who was in it.
                    Eagles may fly; but weasels aren't sucked into jet engines!

                    "I'm not expendable; I'm not stupid and I'm not going." - Kerr Avon, Blake's 7

                    What didn't kill us; didn't make us smarter.

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                    • #11
                      An Annapolis Story
                      Battle Circus
                      Battle Hymn
                      The Bridges at Toko-Ri
                      The Manchurian Candidate
                      Men of the Fighting Lady
                      Pork Chop Hill
                      Retreat, Hell!
                      Steel Helmet

                      That's all for Korean War Movies.

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                      • #12
                        Wodin,

                        A platoon of soldiers were having to defend a mountain pass whilst the Army retreats. It is set in the winter and there is a scene with a minefield. They were hold up in a cave if I remember right.

                        At the end the Chinese/North Koreans attacked with tanks.
                        The movie in Question is probably this one.

                        FIXED BAYONETS

                        http://www.richardbasehart.com/fixed1.html

                        Samuel Fuller's 1951 Korean war movie Fixed Bayonets does not have impressive special effects, a stylish script, in-depth characterization, or subtle acting, but it's one of the greatest war films ever. It's being shown in an excellent print at the Gene Siskel Film Center on Saturday and Tuesday in rare 35-millimeter showings. Fuller evokes the full horror of war, the randomness of death in battle. His narrative and visual choices support that theme: raw and open-ended, they're utterly lacking the comfortable conclusions and simple moralizing of most war movies. Fuller's later war films are more refined aesthetically but lack the jagged, crude power of this early masterpiece.

                        Set in Korea in early 1951, the film opens with an American division fearing a massacre as it retreats, so a rear guard platoon is left behind to trick the enemy into thinking the whole division remains -- "48 men giving 15,000 men a break," as the general puts it. We stay with the platoon, which includes the hard-bitten Sergeant Rock (Gene Evans) and a sensitive corporal, Denno (Richard Basehart), who hasn't yet killed anyone and is chronically paralyzed when called to. The film focuses on the platoon's attempts to fend off enemy probes until the division is safely across a river.

                        Fuller was a crime reporter in his teens, then an author of pulp novels and a World War II infantryman before directing his first movie in 1949. His films got little respect until the late 50s, when French critics such as Jean-Luc Godard began praising them, but since then others have mocked his work for lacking subtlety. In 1980, in Richard Roud's Cinema: A Critical Dictionary, Gavin Millar called Fuller a "minor talent" whose films were characterized by "rather schematic plots" and "writing which rarely reaches above the level of popular journalism"; Roud appended a note saying he was "repelled" by Fuller's "crudity and illiteracy."

                        Like most American filmmakers, Fuller wasn't interested in social forces or historical analysis but in individuals. And though his scripts do lack literary sophistication, the dialogue's almost assaultive directness is a perfect match for his blunt images. Intense close-ups in an early scene in Fixed Bayonets, as the men watch the rest of their division retreat, capture their eye movements, emphasizing the loss, the physical and psychological isolation of those left behind.

                        Once the division has left, Rock offers some advice to his men: "A man on his belly out here looks like snow. A man standin' up looks like a man." This is one of many indications that war compromises one's identity. At one point Rock tells his men to remove their shoes and socks and rub their feet for warmth and to check for frostbite. Thinking he's rubbing Denno's foot, he calls the medic, who tells Denno, "You've got it bad." Then Denno stands up, and we see that Rock is rubbing his own frostbitten foot. A single take connects the men -- and just as important, when the camera moves to isolate Rock, separates them. That it's Rock who's so out of touch with reality undermines his reliability, prefiguring the manner of his death: he's killed by a ricocheting bullet in a cave after warning his men of that very danger.

                        The ultimate loss of identity is death, which Fuller -- speaking of this film -- described as "the thrill of war" and "the only thing I'm really interested in, because it's the only mystery." Feeling that the enemy is near, Rock uses his walkie-talkie to call a soldier, Griff, who reports that "nobody's out here." We cut back to Rock insisting, and then to Griff's walkie-talkie -- now in the hand of a Chinese soldier. In a classic Fullerian moment, a physical substitution destabilizes the viewer.

                        Unlike most war films, Fixed Bayonets never indicates which characters will get killed on the basis of who they are or what they've done. When a badly wounded sergeant, Lonergan, lies in the middle of a minefield his own men planted -- the only map to the field with him -- the unit's medic (played by Fuller's close friend Neyle Morrow) tries to rescue him. Stepping with great care across the field, this good man on a noble mission gets blown up when we least expect it. Then Denno begins his attempt. Fuller films both rescue efforts in head-on shots, cutting between Lonergan and the rescuer but only once giving a more "objective" view: a brief, ominous high shot. Here and elsewhere Fuller's camera keeps us in each individual's world, abjuring views of the geography of battle.

                        The film's first two shots immediately assert that our expectations have nothing to do with what happens during a war. The opening is a typical establishing shot showing a roadway and a jeep driving toward us. Then Fuller cuts to a rare side-angle shot, a closer view of the road that creates a more intimate arena. Just as one expects the story to begin, the jeep blows up. Fuller once said that the problem with war films was that the audience was too aware that they were only movies, and that maybe the solution was to have people being killed right in the theater. His proposition is hyperbolic but indicates how much he wanted to throw the viewer off balance. In a related move, he had the set for Fixed Bayonets iced, then called the actors back in. "Were they surprised!" he said later. "Those falls, there's no acting in them."

                        The first battle scene is full of brief shots of men slipping, intercut with explosions, as the platoon takes shelter in a cave. Here and throughout the film, Fuller fills the frame with bluntly physical shots that emphasize the textures of rock and snow and the men's faces. When a lone enemy soldier appears, Fuller pulls his camera rapidly away from him across the ice. This short but stunning shot traps the man in a small space in the cinematic equivalent of Rock's injunction not to think of the Chinese and North Koreans as men but as the enemy.

                        One might well object to the way Fuller dehumanizes the enemy. But by extension our enemies too are subject to the horrors of the battlefield, which Fuller conveys so vividly. He refuses to sentimentalize war, omitting touching speeches and last looks at photos of fiancees. But his scenes can have immense emotional power. Perhaps the strongest in Fixed Bayonets comes when Rock is shot, when he tells the panicked Denno -- who doesn't want to become platoon leader -- "I'm dead." Evans delivers this line in the same clear, forceful voice he's used throughout, but he's speaking from that shadowy world between life and death. Most war films show explosions, but few have the toughness of Fuller's blast in the face.
                        http://www.chireader.com/movies/arch.../082004_3.html
                        Only Tearful, Animal Man Through the Nature of his Being is Destined to
                        a Life of Warfare...

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                        • #13
                          OK thanks Leatherneck, the name of the movie was Steel Helmet, man I was drawing a blank on that until I saw Leathernecks post.

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                          • #14
                            Originally posted by Priest
                            OK thanks Leatherneck, the name of the movie was Steel Helmet, man I was drawing a blank on that until I saw Leathernecks post.
                            Heh, No problem, Priest

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                            • #15
                              I always thought Samuel Fuller was under rated. "The Big Red One" being the culmination of his career.
                              Lance W.

                              Peace through superior firepower.

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