History in the Media: Film and Television by Robert Niemi (2006-05-08)
Robert Niemi
Language: French
Pages: 0
ISBN: B01K17E2C8
Format: PDF / Kindle (mobi) / ePub
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Hamilton (Mark Lee) with the urbane realism of Frank Dunne (Mel Gibson), both purely fictional characters. The two compete against each other running track, become mates, and ponder the wisdom of going off to fight the Turks in the Great War alongside the British and French. A pure-hearted idealist avid to achieve manhood, Archie seeks enlistment in the 8th Light Horse Regiment (and is accepted even though he is too young because he is an excellent horseman). Frank, older and wiser, is initially
of San Pietro was a harrowing and sometimes grotesque 80-minute Military History on Film and Television: World War II tour of hell, full of the terrifying immediacy of combat. When Huston first screened his film for high-ranking army officers stateside they all eventually walked out (in order of rank, of course). As he relates in his autobiography, An Open Book (New York: Macmillan, 1981), Huston later recalled thinking, “What a bunch of a**holes! There goes San Pietro.” The army found the
strategist and an effective military leader much feared by the Germans—and his own men. Hollywood producer Frank McCarthy (1912–1986), a brigadier general on General George C. Marshall’s staff in WWII, struck a Patton film deal with 20th Century Fox in the early 1950s but would have to wait nearly twenty years to make the film a reality. Robert Brent Toplin notes that army officials and members of Patton’s family discouraged McCarthy from making a film on Patton, fearing it would caricature him
sinking, its horrific aftermath, and the trumped-up navy court-martial of Capt. McVay, which ended in his disgrace and eventual suicide. Thus a cinematic treatment of the true story of the Indianapolis had to be deferred for almost half a century for the scandal to lose most of its political relevance and force. Though Mission of the Shark was a better-thanaverage made-for-TV movie, the horrifying saga of the USS Indianapolis still deserves feature-film treatment. Stalingrad (1993) The Battle of
to Bosnia ince the unambiguous patriotism of World War II–era war films, the war film genre has undergone considerable evolution. In an increasingly more sophisticated ideological climate, war history and fiction films risk absurdity when they trumpet the old, gung-ho verities. Emerging from a century that saw the violent deaths of more than 100 million people, even the most politically oblivious viewers sense that they are being sold a bill of goods when they watch a film that revels in the