After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
A group of army personnel and nurses attempt a dangerous and arduous trek across the deserts of North Africa during the second world war. The leader of the team dreams of his ice cold beer ... See full summary »
Flagwaving story of a new American destroyer, the JOHN PAUL JONES, from the day her keel is laid, to what was very nearly her last voyage. Among the crew, is Steve Boleslavski, a shipyard ... See full summary »
William A. Seiter,
Edward G. Robinson,
The film deals with the situation of British prisoners of war during World War II who are ordered to build a bridge to accommodate the Burma-Siam railway. Their instinct is to sabotage the bridge but, under the leadership of Colonel Nicholson, they are persuaded that the bridge should be constructed as a symbol of British morale, spirit and dignity in adverse circumstances. At first, the prisoners admire Nicholson when he bravely endures torture rather than compromise his principles for the benefit of the Japanese commandant Saito. He is an honorable but arrogant man, who is slowly revealed to be a deluded obsessive. He convinces himself that the bridge is a monument to British character, but actually is a monument to himself, and his insistence on its construction becomes a subtle form of collaboration with the enemy. Unknown to him, the Allies have sent a mission into the jungle, led by Warden and an American, Shears, to blow up the bridge. Written by
Ian Watts, longtime professor of English at Stanford, and author of the landmark "The Rise of the Novel", was a prisoner in the camp, helped with the construction of the bridge, and served as an advisor during the making of the film. See more »
At the start of the movie, while the officer's and men are marching, they whistle. Unfortunately, while their whistling is meant to help keep them all in step, the music does not match their marching steps. In fact, had they been marching in step, their left foot would have been on the first and third beats of the song. This is done intentionally to show that at the beginning, the soldiers are disorganised and unable to whistle and march to the beat. When the theme plays again at the end, after the bridge has been built, they all whistle and march perfectly, showing their progress. See more »
Now, there's another important decision that can't be postponed. As most of the British soldiers will be working on the bridge, only a small number will be available for railway work. So, I must ask you, Colonel Saito, to lend us some of your own men to reinforce the railway gang, so that the final stretch of track can be completed as quickly as possible.
I have already given the order.
We must fix the daily work quota for your men. At first I thought of setting it at a yard and a half, so as ...
[...] See more »
Without belittling `Kwai,' it does seem, looking backwards at David Lean's career, to be a dress rehearsal for the more operatic, tightly controlled (and better written) `Lawrence of Arabia.' Alec Guiness's passionate, detailed performance as Colonel Nicholson, above all other factors, makes Kwai a still watchable and important experience. The screenplay, however, divides unevenly between those who must build the Bridge and those who must destroy it. Ebert, in his Great Movies article, correctly identifies William Holden's character in Kwai as undergoing an implausible transition from escaped POW to martini-guzzling playboy to selfless war hero. Verbatim: `Holden's character, up until the time their guerrilla mission begins, seems fabricated; he's unconvincing playing a shirker, and his heroism at the end seems more plausible.' That, I believe, is also Kwai's greatest weakness. Holden's relationship with Jack Hawkins (playing a parallel role to his General Allenby in Lawrence) seems pallid next to the mighty Guiness/Hayakawa standoff in fact, it seems to be in another movie altogether. Also, Malcolm Arnold's score, which I loved when I was a kid, seems now jarringly inappropriate from start to finish. I am too much influenced, I suppose, by the rock and roll jungle menace of Coppola's `Apocalypse Now.' Lastly, it is many decades past 1957. Images of whistling soldiers, marching proudly after months of captivity, then putting on an `entertainment' more expected in the world of Rodgers and Hammerstein, may ring very false to today's viewer. But keep your eyes fastened tight to Alec Guiness. Kwai is the Everest of his career, and very few actors climb that high.
29 of 49 people found this review helpful.
Was this review helpful to you?