After settling his differences with a Japanese PoW camp commander, a British colonel co-operates to oversee his men's construction of a railway bridge for their captors - while oblivious to a plan by the Allies to destroy it.
Following the close of World War II, General George S. Patton is seriously injured in a car accident and not expected to survive. "The Last Days of Patton" tells the story of these last few... See full summary »
George C. Scott,
"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. Written by
Anthony Hughes <email@example.com>
According to his co-star Karl Malden, George C. Scott caused a shooting delay by immersing himself in a ping-pong tournament against a world-champion table-tennis player. Scott (who was in full costume and makeup) kept losing to the champ; yet he was determined to win at least one set, even if they had to stand there playing the entire night. See more »
Contrary to the way it's portrayed in the film, the controversy over Patton's Knutsford speech was not over his having insulted the Russians (in fact, the Army quickly revised the initial transcript of his remarks to reflect that he had mentioned them). It had to do with his talk of "ruling the world" after the war - members of Congress said he had no business as a general commenting on post-war political affairs, while others objected to the notion of the US, Britain or anyone else "ruling the world." See more »
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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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. See more »
. . . 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.
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