A Union Cavalry outfit is sent behind Confederate lines in strength to destroy a rail/supply center. Along with them is sent a doctor who causes instant antipathy between him and the ... See full summary »
Shortly after Pearl Harbor, a squadron of PT-boat crews in the Philipines must battle the Navy brass between skirmishes with the Japanese. The title says it all about the Navy's attitude towards the PT-boats and their crews. Written by
In the credits, the rank and service of every cast and crew member who served during the war is listed. This was a not so subtle dig by John Ford at John Wayne, who Ford thought should have enlisted after Pearl Harbor. Ironically, Ford would later cast Wayne as Frank Wead, the naval hero/scriptwriter who wrote the script for They Were Expendable, in the bio pic Wings of Eagles. See more »
In the bar scene after the funeral for Squarehead Larsen and Slug Mahan, the radio station playing music and announcing the fall of Bataan is identified as WBKR San Francisco. Stations with call signs beginning with W are in the eastern US. WBKR is currently assigned to an FM station in Owensboro, KY. See more »
I have very strong feelings about this film. As a baby boomer, I have always felt that mine and future generations owe an eternal debt to those who didn't come back.
One way of acknowledging this debt is the way we watch war films, not as bloody spectacles but as tributes and reminders.
And what kind of tribute and reminder is "They Were Expendable"? Consider the rueful irony of the title. Such a sentiment is quite uncharacteristic of director John Ford's other work, especially his westerns (possibly excepting "Fort Apache"), which border on jingoism. Yes, there's a scene that's pretty hard to take: When the boats are detailed to take MacArthur out of harm's way, Ford tries to make out like they're rescuing Lincoln, complete with "Battle Hymn of the Republic" soundtrack. Today we know MacArthur as an overrated blow-hard, but 1945 was too early to see past the hype. And yes, there's some of the usual Ford corn-ball and the familiar Ford players, with John Wayne and Ward Bond doing their thing. But then, there's the great Robert Montgomery, who did active duty (unlike Wayne), and I truly believe he was playing this film, both as actor and co-director, straight from the heart. You can see it in a scene in which he realizes his duty means his death. Much of that scene is shot in shadow, but paradoxically the darkness serves to enhance Montgomery's underplayed emotions. The emotions are similar when Montgomery and Wayne are later confronted with an order that saves their lives but dooms their men.
Implicit in the belief that war is sometimes necessary is the inevitability of some of the most excruciating moral dilemmas imaginable. And when I see these dilemmas imposed on men and women, boys and girls, demanding their lives in payment for their sacred honor, I'm humbled beyond words.
Life magazine used to do huge layouts of kids killed in World War II combat. When I look at these faces and think of the words "They Were Expendable," I . . .
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