After settling his differences with a Japanese P.O.W. 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 heels. Their solution - escape to Bolivia.
George Roy Hill
Retired Old West gunslinger William Munny (Clint Eastwood) reluctantly takes on one last job, with the help of his old partner Ned Logan (Morgan Freeman) and a young man, The "Schofield Kid" (Jaimz Woolvett).
Based on a true story, a group of allied escape artist-type prisoners-of-war are all put in an "escape proof" camp. Their leader decides to try to take out several hundred all at once. The first half of the movie is played for comedy, as the prisoners mostly outwit their jailers to dig the escape tunnel. The second half is high adventure as they use planes, trains, and boats to get out of occupied Europe.Written by
John Vogel <firstname.lastname@example.org>
During the climactic motorcycle chase, director John Sturges allowed Steve McQueen to ride (in disguise) as one of the pursuing German soldiers, so that in the final sequence, through the magic of editing, he's actually chasing himself. McQueen played the German motorcyclist who hits the wire. See more »
During the escape, there is a brief shot of a bridge spanning a river. This bridge is very obviously a post-war construction. See more »
In the past four years the Reich has been forced to spend an enormous amount of time, energy, manpower and equipment hunting down escaping prisoner-of-war officers.
Well, at least it's rather nice to know you're wanted.
See more »
Some TV versions edit the scene in which Ives is shot and killed for trying to escape over the fence. See more »
Sturges's nail biting escape from the war, is a symphony that soars among all the best outcome that the genre has given us. Sturges means business in here, from the first frame till the curtain drops. He doesn't have any time to go waste by, he cares for the quality offered to the viewers. And the standard is kept persistent. The story called for your usual supporting characters with allotted characteristics that keeps the viewers tangled onto them. But this is no fiction, each characters might be given a signature name, but they are more to what they seem and Sturges proves that in nearly three hours that feels like seconds passing by.
The primary strength of the feature is how the makers fiddle with the geography, environment and the set pieces that every now and then elevates the momentum as the gripping screenplay enfolds onto the screen. The narration is gripping and adoptive with a fascinating structure that builds up the base with equal sincerity and mannerism. It relies a lot upon the physical sequences and yet it never grows dull for it is brimmed with tiny notions and tactics that are pure delights. McQueen stands out from the first act and still he remains of the similar palpable tone like the rest of his cast.
Garner gets a much stronger parallel role but Bronson's few compelling sequences steals the show. The cunning ways to cheat their way out and the surveillance team still figuring out their tricks, these sew saw are the best bits of the feature and they are in plethora of it; it is thoroughly entertaining. Armed with such a sharp adaptation, Sturges's execution is plausible and is worth every drop of the sweat that went into it. The Great Escape confronts the reality with a language that was clearly ahead of its time.
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