They Were Expendable [VHS] [1946]

It is a film which did not appeal to me on first viewing. I have since seen it many times and it just imporves like fine wine (its one of those films which needs many viewings to 'connect') It is not easily accessible, especially for the modern generation but it weaves its own beautifully elegiac and sombre melody - more so for those who understand its sad history.

It is a surprisingly intelligent film, which some may find hard to follow, since it contains a bit of strategic talk and such, but it has some heart-rendingly poignant moments, especially the scenes between Wayne and Reed - for instance the candle lit dinner, THAT beautiful shot of the both of them staring into the distance during the dance, and the last phone call.

Some may argue that it is only sporadically great. The 'lesser' moments perhaps sit a bit naked in comparison to the masterstroke scenes mentioned above. Also it may be criticised as being patriotic (dare I say it, propaganda?), but it never feels as such. The japanese are never shown in negative light, in fact they don't ever appear in the film. This was a film made by Ford to commemorate those who fought and its a fitting tribute. 'A Matter of Life and Death' was subject to the same initial criticisms - and that is a masterpiece.

Those with shorter concentration spans may be a bit bored, but make no mistake this is one of the most haunting, and poignant war films around, and captures the mood and tragedy of the time. Along with The Thin Red Line the greatest war films ever made.

This black and white film was made just after the end of WWII, and so it might be expected to be very gung ho, but that is far from the case. It is a contemplative film about US servicemen and women living a desperate situation in the Philippines during the Japanese invasion in 1941, scripted by Frank 'Spig' Wead, himself a serving naval officer during the war.

The story surrounds Motor Torpedo Squadron 3, led by Lieutenants Brickley and Ryan (Montgomery and Wayne), and is loosely based on the real-life Lieutenants Bulkeley and Kelly. The squadron with just a handful of plywood boats was virtually the only US naval force available to fight the entire Japanese invasion fleet, and the sense of hopelessness allied to a desire to fight pervades the entire film. We follow them as they get forced back from one base to another, always looking to the horizon in the hope that the US fleet will steam in to save the day. At the time, few on the islands were aware of the magnitude of the Pearl Harbor disaster, and so it only gradually dawns on the characters that there is not going to be any help.

Certainly the squadron portrayed in the film sinks rather more ships than it did in real life, and the way the boats go about attacking ships is chosen for its screen impact rather than its realism (that's Hollywood I suppose, but it does make for some very exciting scenes). However, the essentials of the story are very well portrayed - the acting and screenplay are both first class. John Wayne plays second fiddle to Robert Montgomery, with the result that his feet are kept fairly firmly on deck and his heroics remain in check. Fine performances from Donna Reed, Ward Bond and several others help to create a very convincing atmosphere.

To my knowledge, it is the only feature film to focus exclusively on the smaller elements of WWII navies (PTs, MTBs, MGBs, Coastal Forces, etc.). I can think of none at all which feature the Royal Navy's Coastal Forces (please add a comment if you can put me straight on this). So for that reason alone it has its attractions for anyone with an interest in naval warfare. But in my view its thoughtful and fairly realistic portrayal of the events makes it worthy to stand alongside the other three great films about WWII at sea: The Cruel Sea, Tora Tora Tora and Das Boot.

Incidentally, without giving the plot away, the ending may seem like an improbable Hollywood twist, but it did in fact happen to Bulkeley and Kelly.

More than 60 years ago, Japanese forces attacked Pearl Harbor. During the months which followed, the United States struggled to recover as Japanese military victories continued throughout the Pacific. This film is based on William Lindsay White's interviews of four members of Motor Torpedo Boat Squadron Three, published as They Were Expendable in 1942. John Ford and Robert Montgomery co-directed and Montgomery also stars as Lieutenant John Brickley. Throughout much of this film, Brickley's squadron only provides courier service between Bataan and Corregidor. When given the opportunity, however, Squadron Three does manage to sink several of the enemy's ships as the Japanese complete their conquest of the Philippines, eventually forcing the American forces to surrender.

With regard to the film's title, not all of those involved with resisting the Japanese were expendable. General Douglas Mac Arthur is ordered by President Roosevelt to relocate with his family and staff to Australia. Brickley's squadron makes their escape possible. As the film ends, he and Lieutenant J.G. "Rusty" Ryan (John Wayne) return to the United States on the last plane out. Their men will now be fighting on foot...at least for a while. In the final scene, as they trudge proudly down the beach and the plane carrying Brickley and Ryan rises above them, the soundtrack offers a muted choral rendition of "The Battle Hymn of the Republic." A distinctive Ford touch.

The greatness of this film is best explained in terms of (a) the generally non-verbal but nonetheless close relationships between Brickley and Ryan, and, between them and their crews; (b) the romantic feelings shared by Ryan and Lieutenant Sandy Davys (Donna Reed) which Ford never permits to deteriorate into sentimentality; (c) Montgomery's highly-effective portrayal of a soft-spoken leader; and (d) Wayne's (for me) surprisingly subtle and sensitive performance, perhaps equaled (in terms of nuance) only by his performances in The Searchers and The Shootist.

It is worth noting, also, that Ford as well as his cast and crew obviously had great respect for the men and women in the American military services. They avoid all of the pitfalls which ruin so many other war films. For example, character stereotyping (e.g. including a philosophical Jewish cab driver from Brooklyn) and using melodramatic music to manipulate a viewer's emotions during especially dramatic moments. This film has integrity in all respects, suggesting that although many of those whom it portrays may have been expendable, they are nonetheless admirable.