Duesenberger As a slice of cinematic history, this film is worth watching. It was clear to me that it must have been written, and production largely completed before December 7, 1941. I'd like to see if there is any historical evidence of this.There was no reference in the film to the global conflict in which Europe and Asia were involved at the time until the last minutes of the film. I wonder how the original script ended? Most shocking is the brief shot at the end during the final marching parade where an older Asian man is shown cheering the marines as they march on by. The man is replete with "Foomanchoo" mustache and holding a sign saying "Me Chinese" while waiving a small American flag. Rarely was Hollywood so blatantly racist.The early Technicolor looks colorized by today's standards and yet beautiful for its time. I could have done without the endless marching and parade grounds scenes which took over most of the movie.

Michael O'Keefe TO THE SHORES OF TRIPOLI sounds like the title of an action packed war movie; not exactly what you get. A cocky young son of an officer, Chris Winter(John Payne)shamelessly joins the Marine Corps with the attitude of entering a country club. A tough-as-nails drill sergeant Dixie Smith(Randolph Scott)does his best to whip the rich boy into a legitimate and worthy Marine. Love interest Maureen O'Hara is a solid highlight. This movie was partially filmed in Hawaii just before the Pearl Harbor "sucker punch". Cinematography earned an Oscar nomination. This WWII entry from 20th Century Fox has a strong supporting cast featuring: John Hamilton, Nancy Kelly, William Tracy, Henry Morgan, Alan Hale, Jr., Russel Hicks and Charles Tannen.

MartinHafer The plot of "To the Shores of Tripoli" is very, very similar to the very popular "Buck Privates" starring Bud Abbott and Lou Costello. But, unlike this film from the year before, "To the Shores of Tripoli" is not meant to be a comedy. Like the earlier film, this one starts with an obnoxious and self-assured brat of a man (John Payne) walking into the Marine base--assuming because of his connections that he will be accorded special privileges. But, like the other film, his father goes behind his back and insists that his son needs character building and NO exceptions or special favors should be granted to him. And, like "Buck Privates", the brat manages to make a nuisance of himself until, ultimately, he finds redemption. In the interim, he relentlessly chases a pretty nurse (Maureen O'Hara), tangles repeatedly with his Sergeant and makes a few friends--then alienates them with his boorish attitude.Overall, the film looks great. It's filmed in full color--the sort of intense 1940s color that doesn't quite look real, but is better in some ways than real life! The acting is excellent (with Payne, O'Hara and Randolph Scott) and there is a nice group of actors who play the recruits such as Harry Morgan (in his first film), "Slapsie" Maxie Rosenbloom and William Tracy (famous for his Sergeant Doubleday films with Hal Roach). As for the story, it's very predictable and formulaic throughout, but it's well-made formula! Mindless but very enjoyable wartime propaganda that must have done a lot to bolster the public behind the war effort.

holy1 I agree with the evaluation of bsmith5552 that it is a disappointing flagwaver, and essentially a U.S.Marine recruitment film. But it has its own place in history. I have just been refreshed as to that place in history by watching again the film version of Leon Uris's first (and maybe best) novel, Battle Cry. Uris dramatized his own experience as a young marine, first training in the States, then in Wellington and elsewhere in New Zealand and finally fighting in the islands of the Pacific He has a fascinating picture of what it was like for young Americans to find themselves in a strange and previously unheard of land like New Zealand. I was a Kiwi teenager in Wellington at that time and can vouch for the accuracy of Uris' depiction of the impact of the descent of thousands of young marines on our city and of their interaction with the locals. To the Shores of Tripoli screened in Wellington in 1942, not long after Pearl Harbor, in the time the newly formed Marine Divisions were there preparing for their involvement in the war in the South Pacific. Through that film we saw on our screens the training only months earlier of the men who were now in our midst. Bsmith5552 speaks of the repetitive sequences of close order drill. I watched the marine band perform those intricate marching exercises in colour film in a local cinema ("picture theatre" in our brand of English). This was the same week I saw them do it live in Wellington. I was transfixed as I saw utterly committed young marines rise and stand to attention in their places in the cinema as the Marines Hymn came through on the film's sound track. I was not simply present at a piece of entertainment. I was watching live drama. To the Shores of Tripoli may not have been a great movie. But in the South Pacific in 1942, when we (maybe unlike today's Iraquis) welcomed the Marines as life savers, preserving us from a Japanese invasion, it had its place in the drama of that time. I viewed it sixty years ago with great interest. I would like the little niche it has in cinema history to be remembered.