Set during the Pacific War against the Japanese, this WW2 drama discerns between achieving one's mission at any cost versus preserving the lives under one's command and enforcing discipline through fear as opposed to mutual respect.
Angela and Bob Brooks are an upper class couple. Unfortunately, Bob is an unfaithful husband. But Angela has a plan to win back her husband's affections. An elaborate masquerade ball is to ... See full summary »
In 1942, a group of young men join the Marines, leaving loved ones behind. Primed for battle, they are frustrated by many non-combat assignments, as we follow their wartime romances, especially Andy Hookens' involvement with Pat, a New Zealand widow. Andy and Pat have just decided that war requires them to 'live for the moment' when, in 1944, our team finally goes into a real battle...Written by
Rod Crawford <firstname.lastname@example.org>
During the scene where the Marines are resting during the march back to camp they are passed by the 1st Marines returning in trucks. There is waving and jeering as the trucks go by. One of the Marines sitting on the ground can be seen "flipping the bird". See more »
When Colonel Huxley goes to ask General Snipe for a beach head he is not wearing a tie clip. He should be wearing one. See more »
For Danny Forster, the war was over. For me? Well, you know how us old timers are. There'll always be boys to be trained and there'll always be battles to be wan. And like I said, politics and wars make strange bedfellows.
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For those of us who lived thru the War, BATTLE CRY is a splendid multi story Marines in Love and War drama, masterfully overseen by veteran Raoul Walsh, with a career perf by Aldo Ray, backed with fine work from Van Heflin, James Whitmore, Tab Hunter, Nancy Olson and others in a star cast. A huge box office hit from an equally big bestseller, marking a vast improvement on the book. Sentimental, exciting, plausible, involving and thoroughly entertaining; its 149 minute running time paced properly, unlike today's bloated epics, which seem to embrace overlength as a substitute for content and skill. Unlike Spielberg's yawner, CRY didn't need to resort to F/X bloodbaths to awaken the audience's attention.
I saw BATTLE CRY on Feb. 19, 1955 at the Laurel Theatre in San Carlos, a Saturday night at the movies in an Art Deco suburban house. Maybe you have to be 66 to appreciate this film for what it represents; and maybe you need to be 26 to swallow Spielberg's version of D-Day. I'll stick with BATTLE CRY.
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