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 »
A renowned former army scout is hired by ranchers to hunt down rustlers but finds himself on trial for the murder of a boy when he carries out his job too well. Tom Horn finds that the ... 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
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 cynical nature soon clash with the "rice-bowl" system which runs the ship and the uneasy symbiosis between Chinese and foreigner on the river. Hostility towards the gunboat's presence reaches a climax when the boat must crash through a river-boom and rescue missionaries upriver at China Light Mission. Written by
Martin H. Booda <email@example.com>
The San Pablo was purpose built for the film, in Hong Kong. She was actually powered by diesel engines: the black smoke from the stack came from old tires and other rubbish fired in a special compartment on the boat. After filming, the boat was sold and survived for some years with various building firms in the Far East, finally using the name Nola D and being scrapped in Singapore in 1975. See more »
During one of the scenes where the San Pablo is in danger of being boarded by hostile Chinese, the crewmen are issued Springfield rifles. But they are not given any ammunition belts. Even if the rifles were loaded, which they would not normally be while in storage, they would hold only five cartridges (six with a round in the chamber). Such a limited supply of ammo would not have been enough to turn back the large number of Chinese if they had attempted to board the ship. See more »
[exchanging marriage vows; slowly and with feeling]
We're mixing our lives together, Maily, and we'll never be able to unmix them again, and we'll never want to. I take you for what you are, and all that you are, and mix you with all of me, and I don't hold back nothing. When you're cold, and hungry, and afraid, so am I. I'm going to stay with you all that I can, take the best care of you that I can, and love you 'til I die.
I will always love you and honor you and serve you, and stay as near to...
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There is a credit for 'Diversions by Irving Schwartz' in tribute to a mysterious, unknown correspondent whose letters proved a morale booster to cast and crew during trying location work in Hong Kong and Taiwan. See more »
Steve McQueen felt an affinity for this role like few others in his career.
In this compelling war drama set in China in 1926, he plays American sailor Jake Holman, a man who's bonded to machinery more than people yet is imbued with a powerful sense of right and wrong. It's a part that plays perfectly to McQueen's strengths as an actor and his lifelong quest to hone performance into character, while jettisoning all but essential dialogue. All his emoting comes subtly: slight shifts of gaze; the way he cocks his head to listen; his complete stillness before action. In 1966 it also brought him his only Academy Award nomination, for Best Actor (but won that year by Paul Scofield for "A Man For All Seasons").
Scripter Robert Anderson had a tough job distilling Richard McKenna's sprawling novel of U.S. Navy gunboat 'San Pablo' (hence her sailors called themselves 'Sand Pebbles') at the start of the revolution that would tear China asunder and ultimately transform it into the post-WWII behemoth we know today. Luckily he and director Robert Wise knew to keep the plot's underpinnings solidly on the central irony of McKenna's story: that it is Jake's very alienation from his fellows that leads him inevitably to sacrifice and redemption. The ending is shocking and powerful; a reminder of better, more mature days in American film.
Wise directed on locations in Hong Kong and Taiwan with his customary mastery of both intense personal confrontation and epic sweep. In excellent support are Richard Attenborough, Richard Crenna and Mako. The film also features one of Jerry Goldsmith's most memorable scores.
I must again mention McKenna's novel. It is superb; sadly, the only full-length work he finished before his untimely death. It may be out of print but is well worth an online used book search.
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