During World War II, an American pilot and a marooned Japanese navy captain are deserted on a small uninhabited island in the Pacific Ocean. There, they must cease their hostility and cooperate if they want to survive, but will they?
Prince Leo, last in the line of rulers of a long-deposed monarchy on continental Europe and jaded with the frenetic search for kicks with the European jet-set, returns to his father's ... See full summary »
Laura is trying to pick up the pieces of her life after the murder of her husband and son, and goes on vacation with her sister to Burma. After losing her passport at a political rally, she... See full summary »
U Aung Ko,
The real-life story of Dublin folk hero and criminal Martin Cahill, who pulled off two daring robberies in Ireland with his team, but attracted unwanted attention from the police, the I.R.A., the U.V.F., and members of his own team.
A semi-autobiographical project by John Boorman about a nine year old boy called Bill as he grows up in London during the blitz of World War 2. For a young boy, this time in history was ... See full summary »
During World War II, a shot-down American pilot and a marooned Japanese navy captain find themselves stranded on the same small uninhabited island in the Pacific Ocean. Following war logic, each time the crafty Japanese devises something useful, he guards it to deny its use to the Yank, who then steals it, its proceeds or the idea and/or ruins it. Yet each gets his chance to kill and/or capture the other, but neither pushes this to the end. After a while of this pointless pestering, they end up joining forces to build and man a raft...Written by
Isolation in extreme conditions allows for very telling studies of human beings, and potentially unpleasant philosophical conclusions. Marooning a character on an island will get you some dramatic results, and the only way to take it a step further is to maroon that character's worst possible enemy with him. That's what Hell in The Pacific proposes.
This is not Cast Away Meets WWII. For one thing, it has a much tighter focus, completely losing anything beyond the island's horizon. It is admirable in its bloody-minded focus, and, with only two actors to cast, it's hard to imagine how it could have been any more perfect that pitching wild-man extraordinaire Lee Marvin opposite Kurosawa favorite Toshiro Mifune. A genius idea, but one that could have failed with a more conventional approach.
We are introduced to both antagonists in a neutral way, free to prefer which ever one we choose, though that is hardly the point, and director John Boorman makes it both easy and at times hard to sympathise with either in equal measure. Both actors do a fine job, playing mostly emotional and physical roles with great restrain and intelligence.
Boorman's direction is perfect, rejecting excess stylization in favor of a subtle approach, aided by superb photography. You have got to see this at least once, simply because, for all its visceral thrills, it is quite profound without ever trying to be. Because it boasts top performances from two of the last century's greatest leading presences in action cinema. Because, though frustrating at first, the ending is, for once, the smartest one that could have been chosen. Humanity is on trial and the judges choose to be honest and pragmatic, thus delivering something that combines greatness and very thoughtful substance.
We need more films like this!
27 of 34 people found this review helpful.
Was this review helpful to you?
| Report this