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.
Wyoming, early 1900s. Butch Cassidy and The Sundance Kid are the leaders of a band of outlaws. After a train robbery goes wrong they find themselves on the run with a posse hard on their heals. Their solution - escape to Bolivia.
George Roy Hill
The film deals with the situation of British prisoners of war during World War II who are ordered to build a bridge to accommodate the Burma-Siam railway. Their instinct is to sabotage the bridge but, under the leadership of Colonel Nicholson, they are persuaded that the bridge should be constructed as a symbol of British morale, spirit and dignity in adverse circumstances. At first, the prisoners admire Nicholson when he bravely endures torture rather than compromise his principles for the benefit of the Japanese commandant Saito. He is an honorable but arrogant man, who is slowly revealed to be a deluded obsessive. He convinces himself that the bridge is a monument to British character, but actually is a monument to himself, and his insistence on its construction becomes a subtle form of collaboration with the enemy. Unknown to him, the Allies have sent a mission into the jungle, led by Warden and an American, Shears, to blow up the bridge.Written by
The first time that Warden is seen to be looking at the bridge site through binoculars he is clearly actually only looking at the rock ledge, on which he is lying, a few inches in front of him. See more »
Various versions have different main credits. There is the original that gives screenplay credit to Pierre Boulle, there is the restored version in which previously blacklisted Carl Foreman and Michael Wilson are credited and there is the original version that was distributed to cinemas at the time still lacking in CinemaScope equipment in which the Cinema Scope credit is omitted and the credits formatted to fit the smaller frame. See more »
I heard a film critic once say that there really aren't "war movies"; there are only "anti-war" movies. I'm still not sure what I think of that claim, but having seen - The Bridge on the River Kwai- enough times in the past several years, I think I'm persuaded that it's at least half right. -Kwai-, I believe, is both a "war" and "anti-war" movie, and, in my view, it succeeds admirably at both.
There is almost no element of -Kwai- that is not praise-worthy. David Lean's direction is tight and evocative. The cinematography is great (even though the color seems increasingly drained in film versions that I have seen). The acting is top-notch. I honestly believe that this is Alec Guiness's best performance, and Sessue Hayakawa is also highly sympathetic and believable. William Holden and Jack Hawkins round out the cast nicely.
The musical score is also right on. Simply put, -Kwai- is an excellently constructed film made by people who obviously cared a great deal about it. As a result, the viewer comes to care a great deal about it as well.
Clearly -Kwai- is an anti-war film. There is no glorification here. War is brutal, period. It's brutality is not captured here in terms of gory carnage or senseless battles. Instead, the psychological dimension of brutality comes across clearly. Yet, -Kwai- also shows the resilience of the human spirit as well as its complexity. One is left wondering if participation in World War II not only psychologically brutalized the characters played by Guiness, Hayakawa, and Holden but also if it simultaneously uplifted them. The paradox is striking to me each time I view this film. War can act both as a positive and negative catalyst, and it can do both of these things at the same instant.
So, is -The Bridge on the River Kwai- a war movie or an anti-war movie? I think Lean clearly preferred the latter, but the subject matter and his approach to it may have landed somewhere in between.
Regardless, -Kwai- is a fantastic film experience and is not to be missed. It is, simply put, my very favorite film--bar none.
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