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Beach Red (1967)

 -  Drama | War  -  18 November 1967 (Japan)
6.4
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Ratings: 6.4/10 from 848 users  
Reviews: 38 user | 21 critic

As a US marine unit fight against the defenders of a Japanese held island, both sides are haunted by their own thoughts and memories.

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(screenplay), (screenplay), 2 more credits »
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Title: Beach Red (1967)

Beach Red (1967) on IMDb 6.4/10

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Nominated for 1 Oscar. Another 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
Capt. MacDonald / Narrator
...
Sergeant Honeywell
Burr DeBenning ...
Egan
Patrick Wolfe ...
Cliff
...
Julie
Jaime Sánchez ...
Colombo (as Jaime Sanchez)
Dale Ishimoto ...
Captain Tanaka
Genki Koyama ...
Colonel Sugiyama
Gene Blakely ...
Goldberg (Combat Cameraman)
Michael Parsons ...
Sergeant Lindstrom
Norman Pak ...
Nakano
Dewey Stringer ...
Mouse
...
Lieutenant Domingo
Hiroshi Kiyama ...
Mishio
Michio Hazama ...
Captain Kondo
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Storyline

American Marines storm ashore on a Japanese-held island and push inland while their enemy plans a counterattack, in this look at warfare. Fighting men on both sides are haunted by memories of home and the horrifying, sickening images they experience in combat. Written by Martin H. Booda <booda@datasync.com>

Plot Summary | Add Synopsis

Taglines:

It's Him Or You Baby! See more »

Genres:

Drama | War

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

18 November 1967 (Japan)  »

Also Known As:

Beach Red  »

Filming Locations:

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Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Color:

(archive footage)|

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Peter Bowman's uniquely constructed novel "Beach Red" was published in 1945, near the end of World War II. The book chronicles an assault landing on a Japanese-held island in the Pacific and the subsequent advance of a four-man Army recon patrol in the jungle, through the thoughts of one of its members. A contemporary review of the book stated the novel "looks like unrhymed verse, but...author Bowman stoutly insists (it) is "sprung prose." A modern-day reviewer accurately described "Beach Red" as "...not a novel. It is a 61-page prose poem, organized in non-rhyming stanzas with varying numbers of lines in each stanza." See more »

Goofs

The American tanks are portrayed by M41 Walker Bulldogs, which were not developed until after the war. See more »

Connections

Referenced in Conker: Live and Reloaded (2004) See more »

Soundtracks

Title Song
Sung by Jean Wallace
Written by Cornel Wilde (as Elbey Vid)
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User Reviews

Like an old cinematic friend - where's it been all these years?
24 May 2005 | by (Chicago, Illinois, USA) – See all my reviews

I was really delighted to see the DVD of "Beach Red" in a video store last week, and of course I immediately bought it. I see that several commentators here have said something like "where did this come from, and how come I never saw it before?" Indeed, it's become something of a rare film over the years. I saw it in 1967 with my uncle, who was a World War II veteran who served in Europe. I was about 14 then, and its style, which was strikingly progressive for that time, made a deep impression on me. To me it seemed moody and dream-like, and it's been so long since I saw it, or even any discussion of it, that I almost felt as if I had dreamed seeing it in the first place. I was bowled over by it at the time. My uncle didn't care for it, as I think he expected a more traditional war film. He was one of those "sees things in black and white" types of guys, and though he didn't bother to explain it to me, I think the internal monologues, flashbacks, sexual encounters, and humanizing of the enemy in a war film just didn't wash with him.

Now, close to 40 years later, I finally saw it for a second time. I can see some clumsiness in the characterization and dialog that didn't strike me way back then. But I can also see why it seemed so audacious in 1967 as well. From my perspective, this was the first of what I would consider a "modern" war film that I experienced, and as such I tend to regard it as sort of a landmark. I can appreciate it more now as a pure ANTI-war film than I could back then, when it just struck me as strange, exotic, and titillating both for its sexual content and graphic violence. Just like the Sergio Leone spaghetti-westerns made traditional American westerns seem old-hat overnight, I could never look at traditional war films with the same eye again after seeing this back in 1967. I'm very glad to make its acquaintance again after all these years.


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