Beach Red (1967)

Approved  |   |  Drama, War  |  18 November 1967 (Japan)
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Ratings: 6.4/10 from 954 users  
Reviews: 40 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.



(screenplay), (screenplay) (as Donald A. Peters) , 2 more credits »
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Nominated for 1 Oscar. Another 1 nomination. See more awards »



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Cast overview, first billed only:
Capt. MacDonald / Narrator
Sergeant Honeywell
Burr DeBenning ...
Patrick Wolfe ...
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 ...
Dewey Stringer ...
Fred Galang ...
Lieutenant Domingo
Hiroshi Kiyama ...
Michio Hazama ...
Captain Kondo


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 <>

Plot Summary | Add Synopsis


It's Him Or You Baby! See more »


Drama | War


Approved | See all certifications »

Parents Guide:






Release Date:

18 November 1967 (Japan)  »

Also Known As:

Playa roja  »

Filming Locations:


Company Credits

Production Co:

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Technical Specs


Sound Mix:


(archive footage)|

Aspect Ratio:

1.85 : 1
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Did You Know?


Several characters are shown carrying M1 carbines incorrectly fitted with bayonets. When the M1 carbine was introduced in WW2 it was intended to serve as a small, light rifle for rear area and support troops whose duties didn't require them to carry a full-sized battle rifle (usually the longer and heavier Garand). Consequently, they were not equipped with a barrel lug necessary for mounting a bayonet. A version of the M1 carbine capable of mounting a bayonet wasn't introduced until the Korean War. See more »


Some of the flashback scenes, in particular those featuring Captain MacDonald's wife, Julie, are unrealistic in their depiction of the time period intended - namely early to mid-1940's. In particular, she is seen wearing her hair and mascara in a style that is clearly not of the mid-1940's, and in one scene, is shown wearing a blouse that is clearly of a mid-1960's design. See more »


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


Title Song
Sung by Jean Wallace
Written by Cornel Wilde (as Elbey Vid)
See more »

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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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