A Pacifist’s Love Of War Movies

I call myself a pacifist.  I’m pretty sure that there isn’t a time when killing swaths of your fellow humans could be justified.  I can’t think of a war that 1) couldn’t have been avoided if the right people were in charge, 2) didn’t go terribly wrong in terms of casualties, civilian and military and 3) bring out the worst in human behaviour.  But I have a dark, dirty secret (that isn’t so secret to those who know me well)…I LOVE war movies.  I don’t just mean the anti-war classics like All Quiet On the Western Front and Paths Of Glory.  I mean good old-fashioned jingoistic flag-wavers with John Wayne and Van Johnson.  I mean modern classics like Saving Private Ryan and Platoon.  I know this seems like a disparity and I suppose it is, in a way.  But in war movies, I often see men (and women) rising to humanitarian heights, overcoming physical limitations and demonstrating partisanship and cooperation, bringing out the man’s best in the worst of circumstances.  This week is Remembrance Day here in Canada and in Britain and Veteran’s Day in the United States and at this time, I always feel led to watch a few of my favourites as well finding one or two I may have overlooked.  As I grow older however, I become more aware of my mortality and more appreciative of the sacrifices made  by others who chose to go into harm’s way for the ideal of freedom and this year in particular, I have been thinking of people I have known who were connected to war in some way and of course, the movies their situation brings to mind.

Although my dad was a couple of months shy of active service in World War 2 (he joined up on his 18th birthday but all he saw was basic training outside Toronto and weekend furloughs in Toronto), I have several uncles who saw a great deal of action.  My uncle Mike was shot down behind German lines early in the war and sat through the war in a POW camp.  As a child, when he and my aunt Kaye would come over for a swim and he would take off his shirt, I would marvel at the foot long scar rippling across his left shoulder from stray bullets during his capture.  The Canadian military was ultimately very generous, providing him with a pension and a cushy job chauffeuring military types around Southern Ontario until his retirement but that would be a small price for the indignities he must have suffered and horrific sights he must have been privy to in those years in the German camp, as in the quintessential POW movie, The Great Escape.  Although this rollicking and exciting adventure strays sometimes from the source material, the book by Paul Brickhill that outlines his own experiences as a prisoner at the infamous Stalag Luft II, the truly amazing thing is that the most unbelievable parts in the film are those that actually happened with Steve McQueen’s unpredictable behaviour and demands accounting for the bulk of the changes from the book.  Another great movie (and book) from this same event is the British classic, The Wooden Horse, the true-life story of how an escape tunnel was dug essentially using only a wooden gymnastic horse and the ingenuity of dozens of prisoners.

My uncle Harry was one of the 76,000 Canadian troops that participated in the invasion of Sicily and ultimately Italy and spent many long months working his way north to free Italy from the fascist grip of Mussolini.  On a recent trip to Italy, we were in Salerno, where the disembarkation of the Allied invasion of Italy took place and and as I walked on the boardwalk next to the Mediterranean, I couldn’t help but think of the thousands of young men who lost their lives where I was walking.  The invasion of Sicily brings to mind the Oscar-winning film about the man who led the great invasion, Patton.  General George Patton was an imposing, brash, egotistical man but a brilliant tactician and the ideal fodder for a movie biography.  Francis Coppola and former military man Edmund North wrote a terrific script that perfectly captured the enigma that was Patton.  George C. Scott would not give a better performance, even if he felt it necessary to turn down the Oscar that came with it and the movie would famously become Richard Nixon’s favourite.

Many years ago, I watched what was essentially another rip-off of The Dirty Dozen, The Devil’s Brigade.  An entertaining romp, this one held a place of importance  and pride to me though because it concerned a ragtag U.S. commando unit drummed into shape by Canadian Special Forces officers, led by Cliff Robertson.  For once, the Canadians were the real heroes.  It was many years later that my dad informed that not only was the Devil’s Brigade a real World War 2 unit, but the best man at my parent’s wedding, George Stocking, was a former member of the Devil’s Brigade.  I promptly rushed home and watched it again and got a copy for my dad, who had never seen the movie.

My favourite war sub-genre is the submarine movie.  The idea that a small group of men from every background works together for the greater good (and their own safety) inside a giant tube, constantly facing stress and danger is a formula that never gets old for me.  Purists will list Das Boot and Run Silent Run Deep as the classics of the genre but my favourite is a propaganda piece that may lack in realism, but more than makes up for it in heart, Destination Tokyo.  Released at the start of the Second World War to give audiences a glimpse into the heretofore unknown world of the silent service, it stars Cary Grant as the skipper of a sub that has the unenviable task of sneaking into Tokyo Bay on an espionage mission, providing us with humour, pathos, excitement, and sheer bravado in spades.  Yeah, it’s old-fashioned but it’s old-fashioned fun.

Many may feel, even with the advent of ultra-realistic movies like Saving Private Ryan and The Thin Red Line, that war movies diminish the great sacrifices the men and women who have served have made but I know that during virtually every war movie I watch, I have at least a moment of reflection when I’m thankful uncles Mike and Harry and all the other uncles, fathers, brothers, sisters, wives and aunts were willing to make the decision to serve their country so that pacifists like myself can enjoy the freedom they fought for.

The Death Of Classic DVDs Will Be the Death Of Me

I LOVE classic movies.  When a new one is released on DVD or shows up at the local rep theatre, my excitement is palpable.  People always ask me if I have Turner Classic Movies in my cable selection and I tell them that if I did, I would never leave the house (the other side of that coin is that due to my…’involvement’ with a local video store that has one of the largest rental collections in Canada, from whom I receive free rentals, we only have basic cable, which doesn’t include TCM).  Now, when I say ‘classic’, I don’t mean The Breakfast Club or Happy Gilmore.  I don’t even mean The Godfather or Rocky.  I mean black and white.  I mean movies that are older than your parents (in some cases, your grandparents).  I get all aflutter over movies with Errol Flynn, Jean Arthur and Cary Grant in them.  I become giddy as a schoolgirl when I think of movies directed by Alfred Hitchcock, John Ford and Preston Sturges.  I actually know who Zasu Pitts, Franklin Pangborn and Edward Everett Horton are…and I like them!  When I say, “They don’t make them like they used to”, I mean it.  But my excitement came to a screeching halt a few weeks ago, thanks to an article in ‘Canada’s newsmagazine’, Maclean’s. 

On August 6, Maclean’s published an article entitled “Say goodbye to big screen classics”, (http://www2.macleans.ca/2009/08/06/say-goodbye-to-big-screen-classics/) which espoused the theory that classic movies on DVD would become as rare as the dodo, or a Toronto sports team winning a championship.  Through interviews with a smattering of highly placed studio execs, the story developed that studios, due to a downturn in sales, would be virtually discontinuing the release of classics, other than huge hits like The Wizard Of Oz and Gone With the Wind.  Even a ’boutique’ distribution company like Criterion would be paring back their schedule with more of a focus on modern film.  Well, I have a word or three to say on this…

I work in the trenches, retail trenches, that is.  As the sole person in charge of the ordering for one of the largest video stores in Canada (8,000 titles for rent, 10,000 titles for sale when the average Rogers and Blockbuster carries 1000-1500), I have a daily view into the soul of the DVD consumer and most of the time I don’t like what I see.  There has always and will always be crap.  The term ‘B movie’ came from the time when you went to the theatre for the evening, and saw two movies, the ‘big’ title, an ‘A’ title and a lower budget (and usually quality) ‘B’ title.  So yes, there will always be the Adam Sandler fan (don’t think he’s the first to make a fortune from lower-brow comedy…before him there was Chevy Chase, Jerry Lewis, Don Knotts, Lucille Ball, Arthur Lake (Blondie), Three Stooges and Fatty Arbuckle). 

It seems clear to me though that the quality of these classics are much higher than what today’s studios are putting out.  I don’t know if it’s the old studio ‘contract’ system which basically forced most actors and crew to appear in or work on whatever the studio heads told them to.  There wasn’t any of the script readings by actors and agents to decide if the potential movie fit his or her image (the studio head told YOU what fit your image).  You were on a weekly salary and you did what the bosses told you (which doesn’t sound all that different from my job, except for the pay scale).  A real difference is that while the Warners, David Selznick and Harry Cohn were businessmen first, they knew and loved movies while today’s execs are mostly MBA graduates who think that the French New Wave is Depeche Mode.  William Goldman famously said that in Hollywood, no one knows anything and that is more true today than ever. 

Yes, I admit that there is some good stuff coming out of Hollywood today (this year alone we’ve so far had Up, (500) Days of Summer, Away We Go, Inglourious Basterds and District 9) but most of this is coming from independent filmmakers or those who work outside the system with that system’s blessing.  I’ve already written a blog on the death of Hollywood (http://argento2665.wordpress.com/2009/05/30/the-blockbuster-and-the-death-of-hollywood/) so I don’t want to get back on that soapbox but I can’t help but think these issues are intrinsically tied together.  If we don’t learn from history, we are doomed to repeat it and if someone removes that history, we have nothing to learn from.  Classic DVD’s are that history and I would hate to see a day when I’m forced to resort to trading with other movie buffs on the information superhighway for a fourth generation VHS dub of Sullivan’s Travels (a movie about movies that will change the way you think about movies).  I fear though that day is closer than we all think.

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