It's 1941. Robert E. Lee Prewitt has requested Army transfer and has ended up at Schofield in Hawaii. His new captain, Dana Holmes, has heard of his boxing prowess and is keen to get him to represent the company. However, 'Prew' is adamant that he doesn't box anymore, so Captain Holmes gets his subordinates to make his life a living hell. Meanwhile Sergeant Warden starts seeing the captain's wife, who has a history of seeking external relief from a troubled marriage. Prew's friend Maggio has a few altercations with the sadistic stockade Sergeant 'Fatso' Judson, and Prew begins falling in love with social club employee Lorene. Unbeknownst to anyone, the Japanese bombing of Pearl Harbor looms in the distance. Written by
Ed Sutton <email@example.com>
Fred Zinnemann insisted on filming in black and white, as he felt that "color would have made it look trivial". He also eschewed the use of any of the popular new widescreen ratios. See more »
Saluting is done incorrectly and at improper times by many characters - Prewitt salutes Captain Holmes indoors and with his cover (hat) off; several characters salute by placing the blade of their hand to the center of their forehead, etc. See more »
That'll be four bucks, babyface. Two for initiation fee, two for this month's dues.
Robert E. Lee "Prew' Prewitt:
What do I get for it?
Members are entitled to all privileges of the club, which includes dancing, snack bar, soft drink bar, and gentlemanly relaxation with the opposite gender - so long as they ARE gentlemen, and no liquor is permitted, got it?
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Truly Excellent; Not Exactly the War Movie You Might Expect
How others have rated this movie any less than 10-"stars" eludes me. Combine uniformly terrific acting from all involved, an excellent script, keen editing and directing with beautiful visuals, and you do have the 10-star movie that won so many awards. Every acting job is measured and believable, whether Lancaster's just-let-me-do-my-job introverted bullheadedness to Kerr's not-quite-the-Captain's-slut-wife to Sinatra's multi-dimensional kid-from-home-with-an-irrational-chip-on-his-shoulder to Clift's I'm-smarter'n'subtler-than-James-Dean-defiance to Reed's putting-on-airs-(up)country-girl-at-heart...it's all there. The war scenes are besides the point in this movie. You know there's a war just a'brewing. The real battlefield action happens between the characters in a way so much more important and real than a bunch of bombs dropping to blow up the latest Bruckheimer set. I'll admit the ending strains the movie's own internal logic, but that doesn't take away from its power. There's a war on and not every battlefield is equally as obvious.
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