jacobs-greenwood Already revered for making the seminal anti-war (World War I) film and the third Academy Award Best Picture winner All Quiet on the Western Front (1930), producer-director Lewis Milestone selected Harry Brown's novel (and screenwriter Robert Rossen) to make this highly thought of WW II drama which tells a story about the Lee platoon of the Texas Division (United States Infantry) that came ashore at an Italian beach near Salerno in 1943. Earl Robinson wrote a song and Millard Lampell provided the lyrics that are hauntingly and soulfully sung by Kenneth Spencer, comprising most of Freddie Rich's background score and filling in the details behind what was more than "just a little walk in the sun", to become an anthem for foot soldiers then and now.The credits open with narration from an uncredited actor, Burgess Meredith, who ironically would go on to play real life war correspondent Ernie Pyle in a documentary style drama that similarly chronicles the lives of infantry soldiers (during the same war) titled Story of G.I. Joe (1945), the film which earned Robert Mitchum his only Academy Award nomination. After introducing the major characters, Meredith's voice-over is supplanted by the title song:It was just a little walk In the warm Italian sun But it was not an easy thing And poets are writing The tale of that fight And songs for the children to singThe music continues while the film opens with a night scene of the soldiers in their landing craft still a few miles offshore:Let them sing of the men of the fighting platoon Let them sing of the job they done How they came across the sea to sunny Italy And took a little walk in the sun They took a little walk in the sun.Almost from the start, it's apparent that the movie will not be like others from its genre, which are typically dominated by action sequences. Instead, A Walk in the Sun (1945) is a dialogue dominated picture that features at least ten character sketches which provide insight into the (kind of) men that fought in the (Texas division of the) infantry:Rivera and Friedman, Tyne and Porter, A Texan from Jersey, and one from Dakota A Texan from out near Duluth, Minnesota Kansas, Maine and Tennessee, Lord God, They're all in the Texas Infantry They're all in the Texas InfantryWhen the characters fall silent, the song and its lyrics fill in the blanks; the singer's voice plaintively wails while cinematographer Russell Harlan pans the line of dug in soldiers:It's a long long time a man spends a waiting' waiting around in a war I think of a gal I've never seen The hair is black and her eyes are green Her name is Helen or maybe Irene It's a long long time for waiting I think of all the things I haven't done or love the women I haven't won It seems like my life ain't really begun It's a long long time a waiting'Important details of their mission is initially revealed via this background music:This is the story of one little job One day from dawn until noon Just one battle more in a long long war And the men of a single platoon It was 53 men started out that day Along the Italian shore And some of those were mighty good joes Who never see the sunrise anymore, poor boys They'll never see the sunrise anymoreWhen the task is complete and the day has been won, the song repeats its opening and concludes with these telltale words:It's the walk that leads down through a Philippine town And it hits Highway seven, north of Rome; It's the same road they had coming out of Stalingrad It's the old Lincoln Highway back home It's where ever men fight to be free.It stars Dana Andrews as Sergeant Tyne, who ultimately leads the frontal assault on a farmhouse that's a German stronghold after directing the destruction of a strategic bridge (the sergeants play a more prominent role because the platoon's lieutenant was mortally wounded before they even reached the beach); Richard Conte plays the machine gunner, Private Rivera; George Tyne plays Private Friedman; John Ireland plays a minister's son & Pvt. that verbally and somewhat poetically "writes" letters to his sister; Lloyd Bridges plays a former MN farmer, Sgt. Ward; Sterling Holloway plays the medic McWilliams; Norman Lloyd plays Pvt. Archimbeau, who always draws the toughest assignments; Herbert Rudley is initially second in command as Sgt. Porter, but gives way to Sgt. Tyne when he can't handle the pressure; Richard Benedict plays a New Yorker who speaks two languages, Brooklyn and Italian; Huntz Hall, George Offerman Jr. and Steve Brodie are among the many others.

The Bronson Fan An American platoon lands on the beaches on Salerno Italy and are tasked with taking a farmhouse farther inland. The movie begins in the dark early hours, in landing craft headed for the Italian coast, dialogue ensues. The platoon's Lt, is injured and eventually dies, leaving a number of sergeants to lead the platoon to the objective. More dialogue follows. Eventually they hit the beaches uncontested and dig so they can talk about nothing. In one of the few action scenes of the film, a medic (Holloway) is killed by a strafing plane, and more talk follows. They move inland all while talking and come across some deserting Italian soldiers. The token Italian American is able to speak to them and they get some info about the area. After more long winded chat of no importance, they get ready to hit a German half track. One of the sergeants basically wets his pants, cries, and can't fight. They blow up the half track and move on to the all important farmhouse. After much talk, they attempt to hit it, and they fail. They come up with a foolhardy plan to take the place. With much less casualties then would have actually happened, they manage to take the house and talk some more.I have to say this is one of the most disappointing "war films" I have ever scene. I'm amazed with a cast like this the film came out so poorly, in virtually every aspect. Lloyd Bridges seems to stand out by far and even his character is a bore. The real problem with the film is there is too much needless boring dialogue. Everyone knows to have a good film you need a good script and dialogue, the problem is that almost all of it is pointless. They attempted to show you what the average Joe would be talking about while he's out on patrol. But it becomes tedious and extremely boring, with dialogue if you're not outright laughing at for being so poor, you may just be fast forwarding. For instances some have said how "real" the dialogue is. Yet, near the end, they have just lost some men, are under fire and don't know how their going to take the farmhouse. So with no real emotion the one guy starts up a conversation about how a leaf off the ground is more complex than the human body. If it sounds stupid, it is. His first thoughts would be is he going to see his family again or live to see another day. Other ones are equally as silly, about dirt, apples, and how one man wants to be hit man after the war. The only scene that was good was when they talk to the Italians to get some information. It comes off well. But I haven't mentioned characters, because they are ones that no one could care about. I couldn't even give you a name. Although you really never see them, you will probably be begging for the Germans to attack just so something happens in the film. The song that is played periodically during the film is awful, but I can excuse this for it is not the tastes of my era.Those above aren't the only situations that are impractical. The officer is killed yet among at least 3 sergeants they have no idea what their doing. No one seems to carry a radio. When friends die, rather then stripping them of at least their ammo or weapon, they leave them there with a loaded Garand shoved in the ground. Same with the medic, he's killed and they don't take his supplies. And of course let's not forget the non climatic ending. Not only do they poorly plan the attack, but they are suppose to have cover from a machine gunner who does nothing but brag, yet he cant hit the broad side of a barn, or a farm house in this case. In reality virtually all of those men would be back in WWI, slaughtered from machine gun fire. If you wanted reality poor planning actually may be kosher to the green US military of the time, so maybe the movie is correct in that case.I know what people will say, go watch Private Ryan (overrated) or something with big special effects. No actually I don't need all that. Most of the greatest war films, among others were from years back, from black and white to color, with little or lots of violence, bad effects to great effects and with varying dialogue. This is just a poor war film. Guadalcanal Diary was made before this and is far superior on all levels. Among other greats about WW II, Attack!, The Longest Day, The Train, The Dirty Dozen, Bridge on the River Kwai, The Great Escape, and depending on how modern you want to be, Downfall. There are too many to name. I'm sure this holds a special place for some, but overall it is poorly done and should be avoided by most, unless a die hard WW II buff. 1 and half out of 10 stars.

Roger Burke What can you expect from one of the most prolific directors ever to come from Hollywood – the man responsible for All quiet on the western front (1930), Rain (1932), Of Mice and Men (1939), The Strange love of Martha Ivers (1946) and many, many others? Well, nothing less than one of the most personal views of war since All Quiet (1930)...Deeply introspective, deceptively comedic, disturbingly real, this account of one day in the life and death of a platoon of American soldiers landing at Salerno in Italy, in 1943, must rank as one of the most poignant snapshots of war ever put to film, and, in my opinion, an excellent example of how to make good cinema – despite the "bells and whistles", so to speak, for that time: the narration by Burgess Meredith and the ballad sung by Kenneth Spencer (who sounds uncannily like Paul Robeson, I think). Those two aspects certainly date this production, more or less, if you didn't know it was made in 1945. Hollywood was, at those times, very big on ballads with dramas; need I say Gene Autry, Roy Rodgers et al?Some might even be bored with the long introduction to the landing, when the viewer is introduced to each of the main characters by way of their interaction with others; or as whimsical introspection as some, like Pvt. Craven (John Ireland), contemplate the nature of life, death and the whole damn thing. In succession, the viewer knows the quiet strength and honesty of Sgt. Tyne (Dana Andrews); the hip repartee between Pvts Rivera and Friedman (Richard Conte & George Tyne); the earthy homeliness of Sgt Ward (Llyod Bridges); the innocence of Pvt Judson (Steve Brodie); and many other well known character actors who were the mainstays of so many black and white classics of that time.The platoon's mission is simple: advance to the enemy lines to a certain farmhouse a few miles inland; attack and kill/capture the enemy; and secure the position. Simple enough, except that the platoon lieutenant is killed before landing, forcing the top sergeant Eddie Porter (Herbert Rudley) to take over. Unhappily, his nerves are shredded from too much battle fatigue, and shortly after, he's reduced to tearful inaction, thus forcing another change in leadership to Sgt. Tyne who then rallies the men to get the job done. It's a dramatic scenario that must have happened in real life, maybe many times.The dialog is the best aspect of this story, no question, showing just how ordinary men do act and think to keep their courage and sanity in desperate situations, knowing that their next step might be their last, but ready to do their duty come what may. I know that sounds corny and maybe it is, but without some sense of the need to get a dangerous job done – even at the highest personal cost – there can be no victory over evil. In its small way, this movie encapsulates all that is honourable about the human spirit while also exploring its limits. A contrasting example – but a very similar story line and mise-en-scene – was Attack (1956), a gripping psychological tussle between Jack Palance, Lee Marvin and Eddie Albert, also in a remote farm house. For younger viewers than I, a more recent comparison that comes to my mind is Malick's The Thin Red Line (1998), an account of a battle for a hilltop on Guadalcanal in the Solomon Islands – and again, very much under the sun. I'd recommend both of those films also.Some would argue, perhaps, that the production standards of this film were clunky, even laughably fake. They would be those who can't see the wood for the trees: a cast of characters so real that you can see part of yourself in every one of them with no difficulty at all. And as the narrative unfolds on that very ordinary day, I was in fact caught thinking about the limits of my own courage when faced with the ever present shadow of death...So, I guess I can fault the production for using what looked like P51 Mustangs as German or Italian fighters; I can raise an eyebrow at the low budget special effects; or the unaccountable lack of sweat on any of the soldiers as they walk in the sun, for Pete's sake, for a whole day...But you can't ignore the sheer honesty of the narrative; the stark black-and-white photography; the great tracking shots used in battle; or the quick and very effective cuts between different pairs of soldiers as they discuss whatever soldiers discuss during battle and during the lulls that form the bulk of all soldiers' stories.If you are a fan of the war genre, this is a must-see movie.

edwagreen Outrageously disappointing film dealing with American soldiers attempting to liberate a barn in World War 11 war-torn Italy.The film is simply miserable as there is entirely too much talking and very little action. The first half-hour or so is unbelievably boring. Even the great acting cast can't pull this one out.Sterling Hayden in a dramatic role is just ridiculous here. He insists upon wanting to see where the action is at. When he is shot dead by German air-craft, Dana Andrews remarks: " I am scared." What else is new? 1945-46 was a remarkable time in Andrews' career. He was horribly miscast in 1945's "State Fair" and the following year, he gave a superb performance in the Oscar-winning "The Best Years of Our Lives."Richard Conte lacks his usual devilish behavior. As a guy from Brooklyn, he aspires to join the mob after the war ends.The great director Lewis Milestone created a first class stinker in "A Walk in the Sun." Milestone's head must have been in the clouds when he made this poor imitation of a motion film.