Patton

Today marks the 72^nd year that the Second World War ended. In celebration, I would like to finally review one of my all-time favorite war films, “Patton,” released in 1970.

The opening scene, where General George S. Patton Jr., played by the great George C. Scott, is on stage against the bright background of the American flag, has got to be the most memorable part of this great biography of one of the most influential and interesting men ever to have been in the military. He gives a powerful monologue in front of his unseen army, hilariously showered with swearing but never sugar-coated, preparing the dangerous sights of World War II and the confident, positive attitude of a powerful U.S. leader. Next comes the credits with Jerry Goldsmith’s appropriate theme music, with a dash of a powerful march and booming trumpets, preparing a great man’s amazing heroic rise, public fall, and inevitable formidability in front of his enemy.

At the Kasserine Pass in Tunisia in 1943, American prisoners are stripped of their clothing and weapons before they can get hurt. It’s an embarrassing defeat. One that needs a strong person to correct the low tolerance of scared troops. To respond, the supreme Patton is taken from Morocco to North Africa to straighten them out. With discipline, fanaticism, and the right amount of fear, Patton brings his men back into good arms. Battle fatigue and damages done by self are just being weak, which really irritates him. Mike Massie stated in their review, “However, it’s evident that the air supremacy as supplied and guaranteed by the British isn’t reliable, and inferior ordnance also played a part in the Kasserine annihilation.”

Mike Massie go on to say, “Amidst writing poetry and spouting sincere beliefs in reincarnation, Patton researches and plans an initiative against the much-admired German Field Marshal Rommel,” played by Karl Michael Vogler. The Nazis similarly search their new enemy, saying that Patton is a romantic leader lost in modern times and that his tactics can be foretold based on previous wars. His next target is definitely Sicily, because the Athenians believed it was the heart of Italy. Many of the scenes showcased German military show Allied forces and their commanders are actually funny, showing that both sides really plan out carefully. Massie mentioned, “The typical, chilling WWII movie monsters are merely players in a stimulating game (similarly, the usual, graphically intense storming of Normandy Beach is relegated to a few seconds of archival news footage). Human lives are but pawns on a chessboard landscape, with headliners Patton and British hero Montgomery (Michael Bates) competing for fame and wins, even when fellow generals believe the matchup and movements are purely gambles with infantry death at stake. It’s evident that, like the common jurisdictional problems of various law enforcement divisions in film, the military jousting of affiliated servicemen contradicts ultimate supremacy.”

Patton is an anti-hero with debatable reasons and questionable thoughts, hated by many of the ordinary soldier looks and publically embarrassed over a forced apology for being too hard on a soldier who was completely shaken (to which Massie credited, “in a key scene in which Scott’s manifestation of the persona is absolutely electrifying.”) Massie said, “The misinterpretation of Patton’s criticisms from American newspapers pokes fun at the perceived silliness of condemning the best opponent for slapping a poltroon; this concept is astonishingly used against the Germans, who rightly can’t conceive of the unintentional deception.” However, Patton is also quite likable, standing up for his country, bravery, loyalty, and winning by any means, stuck on participating in the war in a powerful way, despite his loud tone getting him in trouble during the main problems.

Rarely does an actor embody a role so well that they singlehandedly take over the film to a point that Scott does in “Patton.” His portrayal has become identical with the real general, unfrighten by the idea that a lot of the performance disagrees with the man’s actual plan. Although Omar Bradley, a general who served with Patton, worked as a consultant, it’s still widely believed that many details are not true. However, Scott’s eventual Best Actor Oscar win was much deserved and will always be remembered for his refusal to accept it – simply that he was not in an acting contest.

Massie mentioned, “Not to go unmentioned, the scenes of tank warfare are particularly thrilling and effective, utilizing an abundance of vehicles, artillery, explosions, and widespread locations for grandly choreographed assaults.” The film brings together a memorable character with smart demonstrations of military strategizing, excelling scripting by Francis Ford Coppola (from the Patton biography by Ladislas Farago), and great direction by Franklin J. Schaffner, giving one of the greatest war movies ever made. Massie ended the review by saying, “Ending in a sublime bit of Don Quixote imagery, this 1970 Best Picture Academy Award winner helped the polemic warrior become an immortalized American folk hero.”

This would be the end of the review, but it’s not. Like I said, when George C. Scott refused to accept his Oscar for “Patton,” he decided to play Patton, this time where he thought was a more accurate way, in “The Last Days of Patton.” Like the first film, this one is based on a book by Ladislas Farago, which Scott optioned in 1981. Adapted by William Luce, it was broadcasted by CBS in 1986.

Scott’s continuing concern with Patton has a questioning part. Like the general, Scott had a reputation for being “difficult.” However, Scott looked serious in depicting that “Old Blood and Guts,” as Patton was called by people who liked and hated him, was a likably complex man. Underneath his tough façade, it looked like there was a noble man of learning, warmth and good humor. John J O’Connor stated in his review, “Perhaps, but for all of Mr. Scott's enthusiasm, most objective viewers are likely to agree with an observation made by Dwight D. Eisenhower, the general's commanding officer.” After praising Patton for his daring ability, Ike, played by Richard Dysart, said: “But those very qualities that made you great in wartime make you a pain in the neck in peacetime.”

The movie takes place in 1945. Patton wants to join the war still being fought in the Pacific but is instead given Military Governor of Bavaria. His behavior and policies quickly make international headlines. O’Connor said, “Instead of following Eisenhower's orders for the ''de-Nazification'' of the region, Patton begins focusing on rebuilding the country, going so far as to prepare German prisoners of war for a battle with Russia that he envisions five years down the road. Patton believes that there is ''no need to de-Nazify since 98 percent of the Nazis were pushed'' into the party. Besides, he refuses to refill the Bavarian cabinet with ''displaced Jews and Communists.''”

Scott’s portrayal of this strange man quickly gives a kind of gruff manner that will get no nonsense from inferiors, a group that pretty much means everyone. O’Conner said, “He gives us a kind of Rambo pere, insisting that the man be admired no matter what his excesses.” If Patton spends a good amount of time horseback riding with a former S.S. colonel, it is only because he can like any well-trained soldier. If Patton is unaffected, to say the least, about the experience of the Jews in Germans captivities, Scott can be generously understanding. O’Connor noted, “In a recent magazine article, the actor explained: ''He was not anti-Semitic, but he made anti-Semitic remarks about the poor Jews liberated from the concentration camps. They weren't neat enough for him.''”

In any case, in October 1945, with the war over, Patton was relocated by an understandably livid Eisenhower to the 15^th Army command, which was mainly tasked with paperwork. In December, a couple of weeks before Christmas, his spinal column was damaged in a severe car accident. The entire last half of this three-hour film showcased to the 12 days he spend in an Army hospital before he passed on December 21. Present are, among others, his devoted wife, Beatrice (Eva Marie Saint), and loyal friend General Hobart Gay (Murray Hamilton), Patton is lying in bed, his head being held in place by a number of devices (at one point, devices like fish hooks are on his cheeks). There are flashbacks to the past that do little more than show how close Patton was to his father, also a military man. O’Connor said, “Throughout, of course, members of the press, Patton's ''pinko journalists,'' are treated like blithering idiots.”

The film, directed powerfully by Delbert Mann and produced by William F. Storke and Alfriend R. Kelman, has interesting details. The general’s relationship with is wife’s niece, Jean Gordon, played by Kathryn Leigh Scott, is shown as considerably more than friendly. We are reminded that Patton, arguably offended, never received the Medal of Honor. However, for the most part, we are given with Scott treating himself in what must be one of the longest death scenes in movie history. It is a right chance, of course, for getting sympathy. “He’s a doll,” jokes one of the nurses, “rough and kinda cute.” For everything, the general and this curious movie is still resistible.

I highly recommend everyone watch these two films. I know that “Patton” has been heard by everyone, but “The Last Days of Patton” may not have been heard of because it was a made-for-television sequel. Now that I have brought that attention to everyone, I hope that everyone will watch these films because they are a must. If you like war films, you will definitely like these two.

Check in next Friday for the continuation of “Religious Epic Month.”