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Monday, November 19, 2018

THE GUNS OF NAVARONE (1961)

Neatly splitting the difference between Boy’s Adventure (think GUNGA DIN/’39) & Thinking-Man’s WWII actioner (BRIDGE ON THE RIVER KWAI/’57*), writer/producer Carl Foreman shepherded this Impossible-Mission project, from the Alistair MacLean novel, to near classic status with a pitch-perfect All-Star cast; a last minute directing change (witty Alexander Mackendrick out/sturdy scene-builder J. Lee Thompson in*); and just enough deep dish ideas on the ways of war to chew on. It holds up beautifully, with only the occasional ‘60s special effect (easy to spot miniatures; halos & grain on process shots) to pull you out of the story. Elsewise, the structure, suspense and relationships are in perfect alignment as Peck & Co. (see poster) take on a German Division guarding those eponymous big guns. Laid out with just enough distractions & setbacks to keep you guessing, it’s as much character as plot driven, with a really exceptional perf from David Niven as the explosives expert. He even manages to steal scenes from Anthony Quinn in his (you can’t miss it!) BRIGHT RED shirt. Plus, a super Dmitri Tiomkin score & Oswald Morris on camera. A lot of the big, jaunty WWII epics from the early ‘60s that came in GUNS’ wake look a bit pokey now. But not this expertly paced, suspense-filled class act.

DOUBLE-BILL: *Director Thompson would soon fall into hackdom, but anyone who puts out TIGER BAY/’59; NAVARONE and CAPE FEAR/’62 in just a few years, shouldn't be taken for granted. OR: Having long regretted turning down the Carl Foreman scripted HIGH NOON/’52 (too much like his recent THE GUNFIGHTER/’50), Peck was an easy sell on this Foreman project.  Not so lucky with his next Foreman project, MACKENNA’S GOLD/’69, an expensive critical & commercial disaster, though also something of a ‘guilty pleasure.’

ATTENTION MUST BE PAID: *Foreman got belated credit on BRIDGE long after the BlackList Communist Witch Hunt days.

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