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...
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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 <firstname.lastname@example.org>
The Machinist Mate First Class (MM1c) rate patch that Holman wears on his left shoulder is a post 1941-type where the "crow" faces to its right side. In 1926 when the movie is set, the crow on a Machinist Mate's rate patch faced left, looking away from the wearer's face. After 1941, all USN petty officer rate patch "crows" faced forward, like their wearer, to "face the enemy". See more »
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 »
... and that's saying quite a bit, given his impressive filmography.
There are just a couple of points I'd like to add to the preceding commentary:
To really appreciate this movie, you must see it in letterbox, preferably on DVD. Joseph MacDonald's cinematography is breath-taking; you could take almost any individual frame of "The Sand Pebbles" and hang it on your wall as a work of art.
The second is that Wise himself (if you believe his commentary) wasn't trying to draw explicit parallels to Vietnam, where things did not begin to drastically escalate until near the end of filming for this movie. It's just that history has a sad habit of repeating itself.
If you get the DVD, listen to the commentary at least once: It's worth the time spent. Poor Candice Bergen: She comes across as simultaneously grateful for the opportunity to have worked on this film, and embarrassed that -- as a 19-year-old with little acting experience -- she didn't make a better job of it.
She should have credited Wise with seeing her possibilities a little better than she could. Bergen's gawky shyness is a pretty good fit with her role as a virginal, idealistic missionary newly arrived in China. Her often tentative body language works beautifully as a counterpoint to McQueen's assured and seemingly effortless performance, giving their doomed love affair great believability and poignancy.
This is an example of 60s' epic film-making at its best.
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