Best of all is Clift, who mixes sincerity and intensity as a conscientious soldier who won't bow to anyone. Lancaster is forceful as a decent man whose crucial flaw is that he's married to the army, wholesome actresses Kerr and Reed are sharply cast against type as women tainted by scandalous behavior, and Sinatra turned around his floundering career with his bright turn as the garrulous Maggio. Fred Zinnemann's strength as a director was less on the technical side and more in line with coaxing stellar performances out of his actors, and with this film, he drew a royal flush. As if their lives weren't already filled with enough drama, these characters are all situated on or near the Hawaiian military base at Pearl Harbor toward the end of 1941. Lee Prewitt (Montgomery Clift), a headstrong soldier who pals around with the jovial Maggio (Frank Sinatra) and falls for a "hostess" (read: prostitute) named Lorene (Donna Reed). Warden, who's having an affair with Karen Holmes (Deborah Kerr), the neglected wife of his obnoxious commanding officer (Philip Ober). Daniel Taradash's script made the grade, and evidence that some measure of sexiness still managed to survive can easily be found in the film's iconic image of two illicit lovers locked in a clench as the waves wash over them (a shot spoofed most notably in 1980's Airplane!). Life of Pi and The English Patient qualify as more modern examples of acclaimed movies made from books once deemed "unfilmable," but back in the '50s, it was James Jones' 1951 novel that posed a problem to screenwriters seeking to find a way to omit the sex and profanity that would never make it past the censors. Montgomery Clift and Frank Sinatra in From Here to Eternity (Photo: Sony)įROM HERE TO ETERNITY (1953). Blu-ray extras include audio commentary with film historian Jeffrey Vance the fascinating vintage short 1925 Studio Tour, which goes way behind the scenes at MGM to offer a look at various departments and key personnel (including many of the studio's top box office stars) and the theatrical trailer. The Big Parade has been released as part of a 64-page DigiBook. Incidentally, the title cards were written by Joseph Farnham, who would win the only Oscar even given for Best Title Writing four years later at the first Academy Awards presentation (the category was axed before the second Oscar shindig). The new score composed by Carl Davis is potent, although I think it would have been appreciated - and respectful - if the disc had also included the option to hear the original silent-era score created by William Axt and David Mendoza. John Gilbert, long the poster child for silent stars who didn't survive the coming of the sound era, is excellent, while Adoree has a beguiling screen presence sadly, both actors died young (Gilbert from a heart attack at 38, Adoree from tuberculosis at 35). Masterfully directed by King Vidor, The Big Parade swings easily between comedy, romance and tragedy without missing a beat, and there are numerous set-pieces of enormous power - even today, the harrowing battle scenes would rank among the best ever put on film. Despite having a fiancée (Claire Adams) back home, James falls for a French villager (Renee Adoree) even though they can't speak each other's language, their romance proves to be a respite from the carnage around them. He hooks up with two other soldiers, Bull (Tom O'Brien) and Slim (Karl Dane), and together they form a friendship that continues to be strengthened as the war rages on. Running 2-1/2 hours and featuring a cast of literally thousands, this antiwar spectacle follows James Apperson (John Gilbert) as he gives up his life as a wealthy layabout in order to go serve in World War I. It may no longer be as famous as, say, The Birth of a Nation, Metropolis or any of a half-dozen Chaplin flicks, but back in its day, The Big Parade was the real - and reel - deal, a mammoth production that by all accounts remains the top-grossing movie from the silent-film era. Renee Adoree and John Gilbert in The Big Parade (Photo: Warner Bros.)
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