The film fails to flesh out its depths enough for the narrative to flow, thus, unevenness stands firm, due to, not simply the film's saying only so much about its plot at all, but to its taking an awfully long time to say only so much about its plot. Of course, the film still manages to do only so much to get you familiar with the characters, for although, at least in the case of the leads, developmental shortcomings peak with a lapse in immediate development, there's something frequently lacking about the expository value of this layered ensemble piece, which paints somewhat thin layers to its leads, and hardly any depth at all to the supporting character roster. and with much less dramatic value, and originality, for that matter.Įven narratively, the film is stylized in a manner which pays tribute to old-fashioned war filmmaking sensibilities, while retaining the edge of the then-fresh movement of more brutally realist war filmmaking, and such a formula is unique in a number of ways, but is often taken advantage of so that storytelling can shamelessly lift glaring tropes, both classic and then-up-and-coming, until collapsing as surprisingly familiar. That's a shame, because this is kind of like a film as good as Malick's "The Thin Red Line", only without all of that boring, experimental storytelling stuff.
I understand that the "Filthy Fifteen" inspired "The Dirty Dozen", but it's not like anyone is going to gripe, because no one remembers this film enough to pay attention to what people call it.
Hey, Lee Marvin is here, so maybe we can confuse this with "The Dirty Dozen", or at least its sequel, "The Filthy Five". I make the comparison because I didn't figure that there was a Cannes Film Festival WWII film from America which was less remembered than "The Thin Red Line", although I shouldn't be too surprised, because unless it's "Star Wars" or a "Batman" cartoon, if it has Mark Hamill, you better believe that it's bound to fall into obscurity. Well, that was something of an embarrassing stretch of a way to point out something we were all thinking, considering that this film really is pretty distinct from "The Thin Red Line", considering that it is far from the kind of Cannes-tasticastically arty, meditative war film that Malick made, and that it would take about two decades to wake up after making "Days of Heaven". Oh, no, wait, this is not "The Thin Red Line", this is "The Big Red One"!. Wait, I thought that Terrence Malick went on a 20-year hiatus after "Days of Heaven", but here is, only two years later, with the big comeback that they're talking about.
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