Patton (1970)

The World War II phase of the controversial American general's career is depicted.

Director:

Franklin J. Schaffner

Writers:

Francis Ford Coppola (screen story and screenplay), Edmund H. North (screen story and screenplay),

Stars:

George C. Scott, Karl Malden, Stephen Young

Won 7 Oscars. Another 18 wins & 7 nominations.

Cast

Cast overview, first billed only:
George C. Scott	...	General George S. Patton Jr.
Karl Malden	...	General Omar N. Bradley
Stephen Young	...	Captain Chester B. Hansen
Michael Strong	...	Brigadier General Hobart Carver
Carey Loftin	...	General Bradley's Driver (as Cary Loftin)
Albert Dumortier	...	Moroccan Minister
Frank Latimore	...	Lieutenant Colonel Henry Davenport
Morgan Paull	...	Captain Richard N. Jenson
Karl Michael Vogler	...	Field Marshal Erwin Rommel
Bill Hickman	...	General Patton's Driver
Pat Zurica	...	First Lieutenant Alexander Stiller (as Patrick J. Zurica)
James Edwards	...	Sergeant William George Meeks
Lawrence Dobkin	...	Colonel Gaston Bell
David Bauer	...	Lieutenant General Harry Buford
John Barrie	...	Air Vice-Marshal Sir Arthur Coningham

Storyline

"Patton" tells the tale of General George S. Patton, famous tank commander of World War II. The film begins with Patton's career in North Africa and progresses through the invasion of Europe and the fall of the Third Reich. Side plots also speak of Patton's numerous faults such his temper and tendency toward insubordination, faults that would prevent him from becoming the lead American general in the Normandy Invasion as well as to his being relieved as Occupation Commander of Germany.

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Plot Keywords:

general | warrior | tank | destiny | allies | 

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Genres:

Biography | Drama | History | War

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Certificate:

GP

Details

Country:

USA

Language:

English German French Russian Arabic Italian

Release Date:

2 April 1970 (USA)

Also Known As:

Patton: A Salute to a Rebel

Filming Locations:

Almería, Andalucía, Spain

Box Office

Budget:

$12,000,000 (estimated)

Company Credits

Production Co:

Twentieth Century Fox Film Corporation

Technical Specs

Runtime:

172 min

Sound Mix:

70 mm 6-Track (70 mm prints) (Westrex Recording System) Mono (35 mm prints) DTS 70 mm (70 mm re-release)

Color:

Color

Aspect Ratio:

2.20 : 1

Did You Know?

Trivia

The scene where George S. Patton tells General Truscott that he did serve with Napoléon Bonaparte is in reference to a poem which Patton wrote titled, "Through a Glass Darkly". In the poem, Patton talks about vague memories of six separate past lives, from caveman, to Ancient Roman, to Napoleonic Frenchman, and being a soldier in each and every life.

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Goofs

The scene at the beginning of the Normandy breakout where Rommel, Steiger, and Jodl are arguing over whether Patton is leading the attack, or whether he is still in England preparing for the 'real' invasion could not have taken place. Rommel's staff car had been shot up by R.A.F. fighter bombers at the Normandy front on July 17, 1944 - over a week before Operation Cobra started. Rommel was badly wounded in the attack and in a French hospital at the time the scene is supposed to have taken place.

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Quotes

[first lines]
Patton: Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country.

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Crazy Credits

One of the very, very few Twentieth Century-Fox films in which that company's logo is not shown at all, beginning or end. The film simply begins with the opening speech, and the opening Fox logo is replaced with an in-credit text-only notice after the speech. However, recent television showings have added the logo (not on DVD prints), and the addition is obviously spliced in from another piece of film.

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Connections

Referenced in Mystery Science Theater 3000: Gamera vs. Zigra (1991)

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Soundtracks

"The Stars and Stripes Forever"
(uncredited)
Music by John Philip Sousa

User Reviews

Favorite war film . . .

. . . and it's not even about the war. There's no wall to wall action. In fact, World War II is merely the setting – a backdrop so to speak – and the battles are all downplayed in favor of giving the audience a glimpse into the brilliance (or insanity) of the historically significant character, Patton. From the script on up, everything plays out wonderfully to bring the famous general to life on screen, and after watching George C. Scott deliver his Oscar-worthy performance, I find it hard to believe there were a number of actors on the list above his name.

George C. Scott's performance of Patton is one I consider the greatest given of any war film. Patton is a champion for freedom while sometimes equally as much of a tyrant as the ones he's trying to put down, he's a monster and a hero, and neither he nor the filmmakers give a damn about political correctness. I found the character to be an overly harsh prick, myself, but in some strange way, very likeable and sympathetic, and when watching the movie again I don't look at the screen and say, `Hey, there's George C. Scott.' Instead it's, `Hey, there's Patton.' Not very many film characters have a personality strong enough to overtake the actor playing them. I appreciate that depth and that degree of realism, this attention to detail on the parts of Scott and Schaffner.

Schaffner surprised me by somehow managing to capture my interest on a subject matter I'd ordinarily write off as too silly (Planet of the Apes); two years later, he applied that same technical know how, craft, and intelligent storytelling towards a film whose subject appeals to me from the get go, and once again I'm impressed. There are some great war films out today; however, Schaffner's take pursued the most unique perspective in all realms, and captured my imagination with such ease . . . I can't help but come back to it over other war films.

And I have to comment on the score, which is not only one of my favorite Goldsmith scores but also one of my favorite war-film scores. Jerry Goldsmith matched point for point the brilliance of Franklin Schaffner's vision, the depth of George C. Scott's performance, and somehow managed to captured the essence of both musically. A good music score is one that tells the story of the film in its own unique voice. Goldsmith's score has such a prominent voice in the experience of Patton, that to remove it would be the equivalent of removing Schaffner's direction or George C. Scott.

Lastly, how accurate is the film? Not a clue, and even if it is completely false, I don't care. I've never been about writing history papers based on cinema experiences. All I know for certain is that Patton is a very entertaining and well balanced movie that holds up very well thirty years later, and it's a film that can be admired for its craft.