Competent war movie benefits from its distinguished cast led by George Segal as the tired unit leader given instructions to prevent the Germans from destroying the Remagen bridge, which is vital to the allies advancement. His nemesis Major Paul Kruger (Vaughn) is similarly under pressure from his superiors to repel the allies, but questions the tactics and futility, his unpopular opinions quietly shared by another battle-weary German officer leading them both into harm's way within their own establishment.
Robert Vaughn, while miscast as Kruger, doesn't hamper the overall impact. He adopts all the mannerisms and props, but it's his character's conscience and complexities that go beyond the stereotypical Nazi veneer. Key supporting cast includes Gazzara as the rebellious sergeant Angelo (profiting from the war whenever and however he can), Bradford Dillman as the by-the-book major with whom Segal frequently clashes, and Peter Van Eyck as the sympathetic German officer, a clichéd role (the reluctant soldier) but well undertaken.
"Bridge at Remagen" boasts some top notch action sequences and stunt-work, along with the occasional human touch that elevates it beyond casual war fodder. Gazzara in particular is given reasonable depth with his characterisation, and given Segal's ambivalence, could even be considered the central character. Bystanders Anna Gael and Sonia Zeimann are the token females with little to offer but some much-needed testosterone balance (although their roles are sexualised to varying degrees), while a number of reasonably well known actors comprise the bit parts (Bo Hopkins, Robert Logan, Paul Prokop, Matt Clark and Fritz Ford). The film tapers off in the final thirty minutes, but is somewhat resurrected by the finale to which the victors go the spoils, and the defeated treated as pariahs while the firing squad awaits. Gritty, worth a look.
Robert Vaughn, while miscast as Kruger, doesn't hamper the overall impact. He adopts all the mannerisms and props, but it's his character's conscience and complexities that go beyond the stereotypical Nazi veneer. Key supporting cast includes Gazzara as the rebellious sergeant Angelo (profiting from the war whenever and however he can), Bradford Dillman as the by-the-book major with whom Segal frequently clashes, and Peter Van Eyck as the sympathetic German officer, a clichéd role (the reluctant soldier) but well undertaken.
"Bridge at Remagen" boasts some top notch action sequences and stunt-work, along with the occasional human touch that elevates it beyond casual war fodder. Gazzara in particular is given reasonable depth with his characterisation, and given Segal's ambivalence, could even be considered the central character. Bystanders Anna Gael and Sonia Zeimann are the token females with little to offer but some much-needed testosterone balance (although their roles are sexualised to varying degrees), while a number of reasonably well known actors comprise the bit parts (Bo Hopkins, Robert Logan, Paul Prokop, Matt Clark and Fritz Ford). The film tapers off in the final thirty minutes, but is somewhat resurrected by the finale to which the victors go the spoils, and the defeated treated as pariahs while the firing squad awaits. Gritty, worth a look.