Engineer Jake Holman arrives aboard the gunboat U.S.S. San Pablo, assigned to patrol a tributary of the Yangtze in the middle of exploited and revolution-torn 1926 China. His iconoclasm and... See full summary »
Almost in breadth and depth of a documentary, this movie depicts an auto race during the 70s on the world's hardest endurance course: Le Mans in France. The race goes over 24 hours on 14.5 ... See full summary »
Lee H. Katzin
Mountain Rivera, a punchy has-been managed by the unprincipled Maish, is mauled in a fight and forced to quit boxing. Can his devoted cutman and a sympathetic social worker help him find a ... See full summary »
The Hollander family's European vacation is interrupted when their plane is forced to land in Vulgaria. The Hollanders leave the plane to take pictures which results in accusations of ... See full summary »
Sentemental military comedy revolves around two contemporary army buddies, Master Sergeant Maxwell Slaughter (Jackie Gleason), a smooth operator, who supply Sergeant Eustis Clay (Steve McQueen) idolizes and hopes will join him as a civilian in a private business enterprise. Clay endeavors to be a player in the military, just like Slaughter, but it seems as though Clay still has a lot to learn from his mentor. They are joined by Tuesday Weld as a shrill dizzy blonde teenager named Bobby Jo Pepperdine and Tony Bill as bumbling Private First Class Jerry Meltzer, McQueen's screwball sidekick. Written by
Jackie Gleason released a version of the title music as a single on Capitol in early 1964, with another Henry Mancini composition, Bird Brain, as the b-side. This puts Soldier in the Rain (1963) in the same category as Thunder Road (1958) and Because They're Young (1960): movies which had a version of the theme song performed by a member of the cast and released as a single, while that version wasn't the one used in the movie. See more »
At the fair when Bobby Joe throws the stuffed tiger at Sgt. Slaughter it is moving downwards with sound effects of hitting the ground. In the next split second shot Sgt. Slaughter has it tucked neatly under his left arm. See more »
[Eustis is trying to talk Maxwell into leaving the Army, and joining him in lucrative civilian business deals]
The world's outside that window, Eustis, and it scares me. It's awfully big out there.
You don't make no sense at all, Maxwell. You ain't scared of nothin'!
Oh, yes I am. You forget, I was a civilian once.
It'll be different now - you'll see.
I doubt it. Memories are still very strong... Childhood, growing up. "Fat boy on the block." I was always fat, Eustis. Thyroid condition. Fat baby...
[...] See more »
It is clear that Blake Edwards chose to forego the plot points that are in the book, for more of a character study, and frankly, it works. This is not to say that if the script had included all of the plot points, that it would have been a bad film, but the script went in the direction of focusing in on the characters, not the plot.
Eustes/McQueen's character idolizes Slaughter/ Gleason's character. Any suggestion that Slaughter was ever patronizing or condescending towards Eustes is inaccurate. Eustes worships the ground Slaughter walks on, and Slaughter returns the love, knowing that his friend is more of a simple mind, but he doesn't disrespect him at all.
Jackie Gleason gives us the full "Great One" in this film, albeit in an understated mode. There's no "Bang Zoom" or "Hardee har har", but there is plenty (who am I kidding, there can never be enough) of what made The Great One so great, his vulnerability and his uncanny ability to put us inside his head, making us dream what he dreamed, letting us hurt the way he hurt, and allowing us to be a part of the oh so larger life that The Great One lived, if only for an hour or two.
This is a wonderful film. Capping on Steve McQueen for "overacting" is not fair. His character was written as over-the-top, and that's the way he played it. His wacky expressions and blatant actions in the film were beautifully offset by Gleason's calm and wordly demeanor. It's the Yin/Yang, salt/pepper, sweet/sour, and it goes together perfectly.
I'm so glad my friend sent me this movie. Otherwise, I might've never known about it. Two closing thoughts... If you want to see another perfect fat man role, played with simliar vulnerabilities, look no further than John Candy's role in "Planes, Trains, & Automobiles". John Candy took his Great One lessons. Know that. Finally, if you like this movie, you obviously enjoy buddy movies. If you're ever lucky enough to get a hold of a copy of "Looking To Get Out" 1982 starring Jon Voight, Burt Young, & Ann Margaret, don't miss it. It is the buddy movie to end all buddy movies.
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