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#147 - Patton
Franklin J. Schaffner, 1970
Centres on General George S. Patton as he commands troops during World War II, starting in North Africa before finally making it to Europe.
Despite its fairly straightforward premise of following an American general as he waged war across multiple countries during World War II, Patton has a fairly surprising take on its titular protagonist. It's easy to think of the film as an actor's film where the film as a whole is practically subservient to its lead thanks to the indelible performance of George C. Scott. As Patton, Scott makes for a rather intimidating presence even now - from the opening monologue playing out against the backdrop of an American flag through to its final moments in the wake of European victory, he dominates every frame he's in (and sometimes some he himself isn't in). It helps that, despite his role in World War II, the film doesn't exactly present him as a wholly sympathetic figure. His toughness on every single one of his subordinates is a thing to behold, and yet it is still treated as ambiguous thanks to the Greek chorus that is Nazi intelligence following his every move (at one point, they remark condescendingly on the U.S.'s decision to suspend the extremely effective Patton over such an apparently insignificant act as physically attacking an enlisted soldier). Though one could argue that the film ultimately comes out in favour of Patton's methods, it still showcases the general's flamboyant tendencies such as his fervent belief in the power of prayer contrasted against his openly displayed convictions about how he is a reincarnation of various legendary warriors, thus conveying his eccentricities in such a way that one might be inclined to wonder in bafflement how such a person could ever become a general.
Aside from Scott's Oscar-winning turn, this is a pretty solid (if long) war film with plenty of battles and war-torn scenery to counterbalance the behind-the-scenes moments where Patton alternately hands out and receives discipline. Most of the other characters are fairly insignificant, save perhaps for Karl Malden as Omar Bradley, who here serves as a calmer and much more dutiful foil to the passionate and eccentric Patton. It may not need to be quite as long as it is, but if you want some well-shot WWII sequences and a lead performance that commands your attention, then this is definitely the film for you.
Franklin J. Schaffner, 1970
Centres on General George S. Patton as he commands troops during World War II, starting in North Africa before finally making it to Europe.
Despite its fairly straightforward premise of following an American general as he waged war across multiple countries during World War II, Patton has a fairly surprising take on its titular protagonist. It's easy to think of the film as an actor's film where the film as a whole is practically subservient to its lead thanks to the indelible performance of George C. Scott. As Patton, Scott makes for a rather intimidating presence even now - from the opening monologue playing out against the backdrop of an American flag through to its final moments in the wake of European victory, he dominates every frame he's in (and sometimes some he himself isn't in). It helps that, despite his role in World War II, the film doesn't exactly present him as a wholly sympathetic figure. His toughness on every single one of his subordinates is a thing to behold, and yet it is still treated as ambiguous thanks to the Greek chorus that is Nazi intelligence following his every move (at one point, they remark condescendingly on the U.S.'s decision to suspend the extremely effective Patton over such an apparently insignificant act as physically attacking an enlisted soldier). Though one could argue that the film ultimately comes out in favour of Patton's methods, it still showcases the general's flamboyant tendencies such as his fervent belief in the power of prayer contrasted against his openly displayed convictions about how he is a reincarnation of various legendary warriors, thus conveying his eccentricities in such a way that one might be inclined to wonder in bafflement how such a person could ever become a general.
Aside from Scott's Oscar-winning turn, this is a pretty solid (if long) war film with plenty of battles and war-torn scenery to counterbalance the behind-the-scenes moments where Patton alternately hands out and receives discipline. Most of the other characters are fairly insignificant, save perhaps for Karl Malden as Omar Bradley, who here serves as a calmer and much more dutiful foil to the passionate and eccentric Patton. It may not need to be quite as long as it is, but if you want some well-shot WWII sequences and a lead performance that commands your attention, then this is definitely the film for you.