Patton

Rating:
Summary: Acting par excellence
Review: George C Scott IS Patton.
Never has one perfomance dominated the screen like this and I doubt if if it will ever be repeated.
From the opening "flag" scene to the films end, Scott spellbinds and if ever an oscar was a certainy for a performance, then this was it.
Personally I would have went on hunger strike if he didn't win that year!

Rating:
Summary: Need More Pattons in the World
Review: He was a no bull, all guts general with a passion for war, for progress, and for history. And he used history to his advantage. No other World War II general had the personality of Patton. And no general since Patton has been able to match his flamboyant style. George C. Scott's potrayal is flawless. And the movie is a good history lesson for all of us who were, ahem, napping during that part of the lecture. I was not a fan of "old war movies" before I saw Patton. A child of the late 80s and 90s, I grew up with the special effects stuff such as, most notably, Saving Private Ryan. But it's Patton's personality that makes me like this movie. He makes you want to watch it. His attitude inspired men to move, to march. I think he could still inspire us all today.

Rating:
Summary: Patton's Secret is the Past
Review: 'Das Geheimnis Pattons ist die Vergangenheit,' says a captain in the German high command. 'Patton's secret is the past.' The secret of the man and the movie.

From the moment Patton opens, you know this will be like no other war movie. Standing before the biggest American flag I've ever seen, General George S. Patton Jr. wears a highly buffed, black helmet and a uniform suggesting the 18th or 19th century, weighed down with medals domestic and foreign, bearing not one but two ivory-handled revolvers, and holding a riding crop. As a bugler plays 'To the Colors," the camera focuses on each feature in turn. And then Scott lets loose with the picture's famous monologue (an edited version of a speech he actually gave to American troops in England on the eve of D-Day).

'Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country'.'

Atten ' tion!

Consider the time. In 1969, when Patton was made, America was mired in an unpopular war in Vietnam, the draft was just about to be ended, and America was preparing to pull her fighting men out of the first military defeat in her history. Many who supported the war effort, felt the military had been sabotaged by the media. And here was this spirit from the past, saying that 'Americans love to fight,' and 'will not tolerate a loser'!

Early in Patton, we hear the sound of distant trumpets, as in 1943, the general surveys the ancient battlefield where Carthage (modern name, Tunis, in Tunisia) was burnt to the ground by the Romans in 146 B.C.

Patton is standing near the Kasserine Pass in Tunisia, where over 1,000 American G.I.s were butchered in their first encounter with the German Wehrmacht, in the form of Field Marshal Erwin Rommel's Afrika Korps. 'I was there,' he tells his assistant. In 146 B.C.

Is he mad or is he teasing? The answer is, a little of both.

He quotes from a lush, romantic poem of the eternal warrior ' he is the poet. An American poet-general? Clearly, we are dealing with a man singular in the annals of 20th century American warfare. 'I hate the 20th century,' the old 'cavalry horse officer' remarks.

He refers to himself as a 'prima donna,' but as director Franklin Schaffner, scenarists Francis Ford Coppola and Edmund H. North, and star George C. Scott portray him, 'megalomaniac' is more like it. Before going in to battle, as he stands before his mirror, his Negro soldier-valet carefully placing his begoggled helmet on his head, he more closely resembles a Roman general (or Il Duce) than a modern officer. And in a notorious, true incident, upon encountering a shell-shocked soldier, he slaps the man silly, threatens to shoot him, and is almost cashiered by Ike. But he was our greatest 20th century field commander.

(The valet is played by a trim, youthful-looking, fifty-year-old Jimmy Edwards. Unfortunately, Edwards (Home of the Brave, Bright Victory, The Member of the Wedding, The Manchurian Candidate, etc.), whose career was limited by racism, died of a massive heart attack before the film's release. He went through hell, paving the way so that the likes of Sidney Poitier and Denzel Washington could become screen icons, while he was forgotten.)

In Patton's brutality, in his talk of never giving up an inch of land (Hitler said the very same thing.), in his contempt for civilian authority, in his joy at killing, he comes across as a fascist or Nazi, which is how he was often depicted at the time. Amazingly, the movie is able to glorify this man, while maintaining a posture of cold sentimentality towards him. Schaffner loves Patton, but without illusions. Patton wasn't 'larger than life' ' no one is - he WAS life, or at least the martial, intellectual, and aesthetic lives, in all their fullness.

George Patton Jr. had a sense of destiny; his purpose in life was to achieve greatness leading 'desperate men in combat.' And as he observes, only once in a thousand years, do the heavens so align themselves that a soldier has such an opportunity to change history.

Fortunately, in the movie as in life, Patton had humble, ordinary Joe - at least as Bradley tells it - Gen. Omar Bradley (the last five-star, General of the Army, in the history of the U.S. Army) as a counterweight. Bradley is played by Karl Malden with a restraint and self-effacing humor that perfectly contrast Patton/Scott's bravado.

Jerry Goldsmith's score has just the right blend of the elegiac (distant trumpets) and the pompous yet playful (fanfare of horns and flutes), corresponding to the tempers of Patton's personality.

While almost three hours long, Patton does not flag, and could easily have been longer.

The DVD has a lovely documentary on the making of Patton, as well as Jerry Goldsmith's rousing score.

Just as Patton could not savor his success, so too George C. Scott, the rare actor who could carry a film on his shoulders, was unable to build on his success as Patton. But for one moment, he tasted of that perfection that comes when the stars align, and a great role is delivered into the hands of just the right actor at just the right moment in his career. It was George C. Scott's destiny to play Patton.

Originally published in The Critical Critic, September 20, 2003.

Rating:
Summary: Patton... a man to be feared
Review: It's hard to decide whether Patton was more feared by the enemy or by the very men who served under him. His attitude was gruff, his outlook bloody, and his thirst for conflict insatiable. But with this film, viewers get to see exactly why this opinionated, sometimes unethical General was possibly the greatest leader on the battlefield in the European Theatre of World War II - and George C. Scott portrays Patton in a most memorable manner.

Without a doubt, Patton's exploits on the battlefield won great victories for the Allies. This is, of course, not to take away from powerful leaders on both sides, such as Patton's comrade-yet-rival Field Marshal Sir Bernard Law Montgomery, but Patton will always be remembered by the United States Army not only for his glories, but also for the controversy he managed to stir up. This film showcases both sides of the man. His respect for the uniform and his undeniable loyalty to the United States of America made him the hero, but his quest to "beat Montgomery to Messina" and the incident in which he slapped an enlisted man and called him a coward do much to antagonize him in the eyes of many. That's one of the greatest things about this film: the filmmakers have made it so that it does not concentrate wholly on Patton's good side nor his bad side, but instead, create an atmosphere in which the viewer's opinion of the man constantly changes.

Packed with intense battle scenes, dialogue that is often nearly as intense, and some somber moments, "Patton" is a film that will have your attention for the entirety of its nearly three-hour running length. If you're the special-effects lover, then this film is probably not for you, but understand that it was made before the advent of computer-aided and, in my opinion, useless and corny graphic effects. This is just pure cinematic mastery, depicting a great leader and a passionate, even if flawed, fighting man.

Rating:
Summary: great ar movie
Review: i really liked this movie a lot i think it was very enjoyable

Rating:
Summary: Picture of a man, and the war between his passions
Review: Don't be mistaken: this classic war movie is not so much about war as it is about a man: General George S. Patton, arguably America's greatest Second World War combat general. Based on two books about Patton ("Patton: Ordeal and Triumph" by Ladislas Farago and "A Soldier's Story" by General Omar Bradley), the movie explores the war within his soul, and the temperament that was his undoing and yet brought him unprecedented success. Limited to his military career between early 1943 and late 1945, it's more of a character study than a biography. But with a running time close to three hours, it's a character study with tremendous depth.

Several aspects of his character are highlighted.
1. Patton was fiercely competitive. His race to beat British Field Marshall Montgomery to Messina and then to Berlin becomes a prime motivator for success, even if he needs to sacrifice men to achieve his personal ambitions.
2. Patton loved war and thrived on the heat of battle. While his compatriot General Omar Bradley did his job because he was trained to do it, Patton did it because he loved it. "I love it, God help me, I do love it more than my life." Patton had no political ambitions, and his only fear was that the war would have no role for him: "All I want to do is command an army in combat." As his German opposites observed, "The absence of war will kill him."
3. Patton was a passionate military historian. His love for military battles of the past constantly becomes evident: "Patton is a 16th century man, a romantic warrior lost in contemporary times."
4. Patton was intensely religious. He believed in both God and reincarnation, and was convinced that the lines of history were in place for him to achieve great things, and that God would enable him to fulfil his destiny - "The last great opportunity of a lifetime and I'm left out of it? God will not allow it to happen." Yet his fierce religious fervour towards God was juxtaposed by his profanity towards men. He frequently blasphemed, one incident in particular bringing out these conflicting qualities, when in reply to a question about the regularity of his Bible reading, Patton remarks "Every God-damned day." It's been said that the raw language typical of Patton is even toned down in the movie (he supposedly once said "You can't train a platoon without using profanity"). Yet his inclination toward profanity is not excused, but is presented as part of a larger problem he had in controlling his tongue.
5. Patton was inspirational. He knew it was natural for soldiers to fear battle, and combated this with a fierce military discipline that made the soldiers fear him instead. "They'll lose their fear of the Germans ... I hope to God they never lose their fear of me." "I won't have cowards in my army." The inspiring and bloodthirsty monologue that opens the movie with Patton dwarfed by the American flag is unforgettable: "No bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country."
6. Patton himself lacked the discipline he expected of his soldiers. His moments of lax self-control led him to say and do things that got him into serious trouble with both his superiors and allies.

These last aspects are especially important. The movie almost has the aura of a convincing documentary, because it paints Patton with his virtues and vices. This is one of the movie's strengths: it portrays Patton as he was, with both strengths and weaknesses, without openly glorifying or condemning them. Director Franklin J. Schaffner stated in 1970 "We are not defending General Patton, and we are not attacking General Patton. We are really telling the true story of one of the most fabulous and interesting characters that I have ever observed in action." More than anything else, it's a serious study of his complex character. This war within the man overshadows the war outside the man. Patton was his own worst enemy, his big mouth frequently getting him into trouble, and resulting in him being relieved from his command on more than one occasion. Great as he was, he was not without weaknesses, but his failings are shown without excusing them. In fact, Patton's weaknesses were the reason Eisenhower opted to advance General Omar Bradley ahead of Patton, although Patton was always his first choice when a brash military leader on the field was needed for a particularly bold mission. Despite his weaknesses, Patton was truly inspirational to those who served beneath him and the importance of his contribution to the Allied success is undeniable.

At times the story goes beyond the man, with a broader focus on the war effort. First Patton and Montgomery vie for success against Rommel in Sicily, and then again in Europe. But the war scenes are always on a large scale, with wide angle shots of explosions, tanks and masses of infantry, rather than individual experiences of horror. In the end, it is not the world war that is center stage, but the complex character of the man Patton, and the war between his passions. George C. Scott's performance as Patton is brilliant and one of the memorable performances in cinema. It's not surprising that the movie went on to win seven Academy Awards, including Best Picture. It has that epic "Lawrence of Arabia" feel, and it serves of a lasting testament to the confusing personality of a strange yet important military leader: Patton himself. -GODLY GADFLY

Rating:
Summary: Romantic Warrior of times passed...
Review: ~Patton~ played at our local movie theatre for more than six months. It was an immensely popular film upon its release, (1970) and continues to be one of the best biographical films of all time. There wasn't much to do in our small town on the weekends, so we just went to the movies. I must have seen this film over ten times during its long run, and I never grew tired of it. Years later, watching it again on video, reminded me how adept Franklin Schaffner was at making the Epic, which seemed to be the fashionable genre during the 60's and 70's. The list of his achievements includes, "The Boy's from Brazil", "Papillon" and "Nicholas and Alexandra". All great pictures, all great stories, which have that particular Schaffner style: epic-like, professional, and memorable with a lot of class.

It is common knowledge that George C. Scott won the Oscar that year for best actor and declined the accolade for political and artistic reasons. This proved to be a significant turning point in his career; in fact his career seemed to go down hill after that, and he never fully recovered. This was unfortunate because Scott's performance in Patton is a work of pure genius, and he deserved to go on to do more high profile parts. For a lot of us, when we think of the historical character, General George Patton, we think of the actor, George C. Scott. The film and Scott's performance have become our historical reference point for the time and the man. When I think of the Seventh and Third armies during WW2, I visualize the actor in the Schaffner film standing in his jeep barking orders and inspiring his men to carry on against impossible odds. And that's the beauty of this film; it is accurate both historically and biographically. Of course, artistic license is taken occasionally, but for the most part, according to most WW2 historians, the film is true to the mark.

This is not so much a war film but a story about a leader whom despite insurmountable obstacles, inspired men to great heights, achieving the near unattainable. Patton was an educated man from a distinguished military family, who viewed the world from an historical perspective - 'old blood and guts' believed he was part of world history, an immortal soul that fought against the Romans, and later, was part of Napoleon's army that forged into Moscow in the early 19th century. Patton was a believer in reincarnation- the theory that knowledge can be 'remembered', because the soul or mind has passed through a previous series of bodied and disembodied states. Whether this notion is true or not, Patton believed he had the accumulative knowledge from past lives and used this knowledge during his command in WW2. At the end of the film, one of the German characters comments that Patton was an anachronism, the romantic warrior of times passed, whom without a war to fight, would perish. This was certainly true. George Patton knew his purpose and destiny, and that was to lead men into battle.

Everything about this film is first rate.

Rating:
Summary: Incredible Military Epic
Review: The complexity of General George S. Patton, Jr. is mind-boggling. A relentless student of war. A fierce competitor, strategist, and antagonist. Arrogant, ruthless, and egomaniacal. A deep, unwavering love and commitment for the men under his command. Brash and abrasive, he was politically incorrect before anyone knew what political correctness was.

Director Franklin J. Schaffner depicts all of this complexity (and more) in his epic masterpiece, PATTON. And George C. Scott delivers the title role brilliantly, a role that defined this distinguished actor's career.

PATTON is not propaganda: it is a compelling look at a larger-than-life American hero, warts and all. Brilliant as Patton was, he tended to be his own worst enemy, from slapping a soldier he accused of cowardice to jeopardizing his battalion through barren Sicily because he wanted to arrive in Messina ahead of Field Marshal Montgomery's forces. Patton knew the enemy well, knew how to defeat it--he simply could not deal with the bureacracy of the Allied command, to his detriment. Demoted, muzzled, he was kicked to the sidelines of World War II until General Eisenhower called him back into battle during the late stages of the conflict. Upon returning, Patton ("Old Blood 'n Guts") performed masterfully, enhancing his icon status.

As the war concludes, the viewer is drawn into Patton's passion to continue marching east, into Russia. What would have happened had the British and Americans followed Patton's advice and defeated a rundown and tired Russian army? A Cold War averted, or a cataclysmic nuclear nightmare? The viewer can only wonder.

Karl Malden as humble and modest General Omar N. Bradley--the antithesis of Patton--is equally brilliant; Jerry Goldsmith's musical score is haunting yet superb. PATTON is the epitome of exceptional filmmaking, an exceptional movie about an exceptional man.
--D. Mikels

Rating:
Summary: Great movie. Great acting!
Review: Great movie!

Dr. Michael Beitler
Author of "Strategic Organizational Change"

Rating:
Summary: One of the best war dramas ever made...
Review: Patton is without a doubt one of the best WWII dramas available. The DVD version has been brilliantly reproduced. For war movie fans, this one should not be passed up!