JohnHowardReid Filmed entirely on location in the Philippines with (as a Foreword is careful to point out) the co-operation of the Philippines Government and its armed forces (many of the leaders of which took an active part in the war-time guerrilla movement), American Guerrilla in the Philippines may have been a bit of a trail-blazer in its time but, seen today, it is not much different from many other films dealing with these events, such as No Man Is An Island. This one, however, has been lensed on a lavish scale, although - aside from its shoot-out climax - the action scenes are not all that spectacular. All the same, Lang's pre-occupation with violence is evident in many scenes (the killing of Anzures, the Japanese interrogation of Torena and Miss Presle, the Japanese commander shooting a peasant who offers him a pack of American cigarettes) and his cynicism also comes to the fore in such episodes as the scene with Carleton Young as a nonchalant officer or the sequence in which Jack Elam and his confederates plunder the natives. In other respects, Lang's direction is capable, although camera movement and frame composition are not particularly imaginative aside from some isolated shots (the boat nearly capsizing with Power at the tiller, the Japanese soldier advancing almost into the lens of the camera before being shot back). The playing is little more than adequate, but it's interesting to see Tom Ewell, who is high up in the billing here in his second attempt at a Hollywood career (the two Willie and Joe films plus Abbott and Costello Lost in Alaska followed, after which he dropped out of sight again until his triumphant return a few years later in The Seven Year Itch). Actually, Ewell is comparatively subdued, as his part here calls for naturalistic comedy rather than exaggerated slapstick - the former certainly tones in better with the over-all mood of the film. In her first color movie (and what was to be her second last English-language role), Micheline Presle looks very glamorous. Robert Barrat appears briefly in his accustomed part of General MacArthur. Power is his usual self. Some of the indigenous players, particularly Miguel Anzures and the unidentified actor who plays the Japanese commander, are very effective. I am glad that Lang has the Japanese soldiers speak Japanese instead of fractured English (Hollywood's usual device in these circumstances). The film was an unusual assignment for writer-producer Lamar Trotti, but he has brought off both the screenplay and its production with his usual capability. Though the plot is to some extent stereotyped (a fault that occurs in the original novel and has unfortunately become more obvious due to the large number of imitations the film has inspired), at least the dialogue avoids many of the usual Hollywood cliches (having the Japanese dialogue untranslated is an advantage here). The film has been realized on an extensive budget. Both production credits and production values are first class.

twotontoni It's not really about what I thought of the film - I note military and naval experts have commented on various inaccuracies. This is more a comment on an aspect of the film, which I saw many years ago in b/w, and got a greater insight into when seeing the Canadian commentator Elwy Yost's programmes on cinema history in the 1970's. How many viewers realise that the reason the heroine (the Filipino hero's wife) is cast as a Frenchwoman? This is not to make the story more romantic, or as a tribute to 'our gallant wartime allies' or even because the actress might be French, but because in those days to comply with the Hayes Code, the heroine, if she gets the white hero in the end (or vice versa!) has to be white!

Spikeopath It's because it simply isn't very good, not painfully bad exactly, just a meanderingly paced time filler is all. Adapted by Lamar Trotti from a novel by Ira Wolfert, it stars Tyrone Power, Tom Ewell and Micheline Presle. The plot focuses on Chuck Palmer (Power) & Jim Mitchell (Ewell) who are stranded in the Philippine Islands waiting for Gen. Douglas MacArthur's return. As the impending surrender to the Japanese is unappealing to the guys, they attempt to escape the Islands. Only to be thwarted at every turn. So digging in they set about building a communications station to aid the guerrillas in the war effort. But the Japanese are closing in.First time viewers should not be fooled by some of the advertising catch phrases that proclaim this to be a rousing spectacle, or a great Pacific adventure. It's a sedate character driven story that's more concerned with flag waving jingoism than any adherence to action entertainment. Which would be fine if Trotti's script wasn't so unimaginatively bland. It's nicely shot at the actual locations by Harry Jackson, and Power is as ever, watchable; working from actual military experience helps of course. But with Ewell and Presle out of their depth {the former out acted by ants in one of the film's rare suspenseful moments} and the romantic sub-plot as tiresome as it pointless, this only serves to be a huge disappointment as a picture, and a blot on the directors CV. 4/10

blanche-2 Not one to see a lot of war films, I have to say I enjoyed "American Guerilla in the Philippines," starring Tyrone Power and directed by Fritz Lang. Power plays a real-life navy man, Chuck Parsons, who helped organize guerrilla forces in the Philippines after MacArthur promised to return. There are some exciting and tense scenes, and also, the film is a tribute to the courage of the Filipinos. There are obvious non-actors in small roles, which is a little distracting, but I suppose this was done for the sake of realism. Power is rugged and handsome as Parsons, and Tom Ewell gives an excellent performance as a wisecracking soldier. Micheline Presle is the de rigeur love interest - it's Tyrone Power who's starring, after all, and their love scenes are great, as are their scenes where she subtly fights her attraction to him. Of course, I'd have caved right in.Power did not get to meet the real Chuck Parsons until a few months after filming, when Parsons appeared, unannounced, in Power's dressing room when the actor was performing "Mr. Roberts" in London. One must assume Parsons was pleased to have been portrayed by a matinée idol.Fritz Lang did a wonderful job of directing, but of course, this film is a far cry from Metropolis. It was a hard shoot for Power, as his wife, Linda Christian, miscarried while visiting him on location. Despite other reviews on this page, Amrican Guerrilla is very watchable. You have to take it for what it is - propaganda to get the U.S. ready for the Korean war.