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.
Based on a true story, a group of allied escape artist-type prisoners-of-war (POW's) are all put in an 'escape proof' camp. Their leader decides to try to take out several hundred all at once. The first half of the film is played for comedy as the prisoners mostly outwit their jailers to dig the escape tunnel. The second half is high adventure as they use boats and trains and planes to get out of occupied Europe. Written by
John Vogel <email@example.com>
When celebrating the Fourth of July and pouring alcohol, Hilts (Steve McQueen) is thrown off by an ad-lib by Goff (Jud Taylor). While Hilts is drinking, Goff says, "No taxation without representation." McQueen jumps out of character and gives him a look (and mouths, "What?") The director must have signaled to "just go with it" and the scene continues. But it is an obvious ad-lib. See more »
When Hilts crashes his motorcycle into the barbed wire fence, he is clearly in front of the barbed wire. When they cut back for the close-up, he is entangled in the barbed wire. See more »
Not Colin. He'd be an appalling hazard to the whole escape. That must be my decision.
You want to talk about hazards? Let talk about hazards. Lets talk about you. You're the biggest hazard we have. The Gestapo has you marked. No one has said you can't go.
That's true, and I have thought about the Gestapo. But if you're asking me how a far a commanding officer is allowed to go, or dare go, or should be permitted to play God, I can't answer you.
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Credit should be given to the brilliant score by Elmer Bernstein. If you listen to it closely, it literally is a battle between the Allied Prisoners (flutes & woodwinds) and the Germans (tubas). The escape scenes with the little boat on the scenic german river is evocative of Wagner and his heroic Germanic Operas. The scenery of the German countryside and the Alps is breathtaking. I believe that the scriptwriters emphasized the heroism, humor, and character of the prisoners to make an uplifting statement of what is essentially a cruel and tragic story. As a child growing up in the seventies, our 7th grade glass was reading the Paul Brickhill book and we had the opportunity to meet a former (American) Stalag Luft III prisoner from that era. He had arrived at the camp after the Great Escape, but was placed on the monument detail for the 50 executed men. He said that few men seriously contemplated escape after this incident and the emphasis was on surviving the war and going home alive.
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