Recruits head to the front lines towards the close of the Korean War. The interaction between two of the soldiers...an idealistic newcomer and a psychotic who goes on one-man patrols ... See full summary »
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Recruits head to the front lines towards the close of the Korean War. The interaction between two of the soldiers...an idealistic newcomer and a psychotic who goes on one-man patrols slitting enemy throats under cover of night...and the orphan boy who comes between them is examined. The Cease-Fire brings the three to a final resolution. Written by
Martin H. Booda <email@example.com>
After making this film, Sydney Pollack devoted himself to his directorial career - he would make his feature debut in that capacity three years later with The Slender Thread (1965). Pollack would not appear in a feature film again as an actor until an uncredited cameo in his own The Electric Horseman (1979) and then three years later in a very well received role in Tootsie (1982) that re-ignited his acting career. See more »
Pvt. Roy Loomis:
Once you get out of training, you're funneled into what's called the pipeline, and you become a number while you're traveling in it, until you get spewed out somewhere at the other end. After you land, you look for signs of war. A bullet scar in a wall, a bombed out building. You don't have to look very hard. You see a lot of poverty, kids starving. When you get out of the trucks after the ship and the train, you know the pipeline is carrying you further toward the front. You're ...
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A superior low-budget film about psychosis and battle; nicely shot and performed.
This character study remains one of the best intimate views of conflict ever filmed, and features Robert Redford's first film appearance. There's also a major appearance by actor Sydney Pollack, before he made is mark as a major director. It's starkly made, grim, and engaging, without any of the jingoism and/or sentimentality applied to most older and recent Hollywood product. The moody score was provided by jazz composer Bud Shank. Nice.
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