Ok – so it’s been months since I’ve posted. Here we go.
Nineteen sixty-one saw the release and nomination of two post-World War II epic dramas. One, Judgement at Nuremberg, focused on a singular moral dilemma during the Nazi trials held at Nuremberg after the Paris Peace Conferences. This film capitalized on a particular formula – the courtroom drama – to display deep character analysis while holding other aspects like plot, setting and time static. It’s a clever and logical ordeal: Judgement at Nuremberg did not invent this process, nor did it define it. Movies like All The President’s Men and My Cousin Vinny have taken a modern approach to the concept – with wildly different motives and results, but the premise remains the same. The other, The Guns of Navarone, instead morphs the epic war film into a rag-tag collective film. Think Ocean’s Eleven x Zero Dark Thirty….on quaaludes.
It’s an interesting mash-up of two storytelling modes and this merger is necessarily clunky: the backdrop is World War II, but the Nazi officers’ attitudes seem relatively nonchalant and the conflict seems rather subdued. Set in the Aegean Sea, this conflict has seemingly nothing to do with the Nazi agenda insofar as the plot needed a malleable enemy. This movie is really about the connections between the cast – an emblazoned Gregory Peck as Captain Keith Mallory, an expert mountaineer, a moody and gloomy Anthony Quinn as Andrea Stavarou and smart-mouthed David Niven as Corporal Miller. Among this cast is a further rag-tag group of “doomed” men (and later…women!), sent to the island of Keros to disable radar-enabled anti-ship guns so that the Allied forces can sneak in and rescue a few thousand stranded men. That’s the plot for two-and-a-half hours.
Now, think about the simplicity of this concept: Nazis with no agenda, a black-and-white conflict with minor and almost inconsequential consequences, a cast of characters whose skills are almost irrelevant and a hackneyed moral climate….so the character palate better match that of Judgement at Nuremberg. I won’t ruin a major – the only – real conflict in this film, but I will say that since the audience knows in advance that the overall conflict will be successful, shouldn’t it have hurt to include actual, subtle drama amongst the cast besides some hurt feelings. On a scale of zero to Gladiator, The Guns of Navarone is a Sesame Street. Continue reading