La fuerza de las armas

Forget San Pietro. The real conflict in this early 50s combat film is between anti war cynicism and patriotic effusion. The later wins out, as it almost always would in a pre 1960s Hollywood war movie, but the fact that there is even a spirited contest between the two ideologies shows just how far in the rear view mirror WW2, our only morally justified foreign engagement, had receded by 1951, especially once Korea had taken its place.

So if only as a marker of American society's changing views on war and flag waving this film would be worthy of notice. It is also the last good work of its director, the great Michael Curtiz*, who has at least two films in the top Hollywood 100 of the twentieth century (three if you're a "Yankee Doodle Dandy" fan, which I am not) featuring very realistic, hard bitten battle scenes.

Unfortunately, as previous reviewer planktonrules noted, the film is marred by some of the worst, gushy, mushy, cloyingly romantic dialogue, in the love scenes between William Holden and Nancy Olson, this side of a Fanny Hurst novel. I mean, Holden is a legitimately great actor but not even he can survive such lines as "With you I will live forever", spoken sincerely. And Olson, a much less skilled thesp, is completely done in by the lovey dovey twaddle composed by scenarist Orin Jannings, a scribe with whom I am thankfully not familiar.

Bottom line: Give it a generous B minus 'cause I'm a big Curtiz fan.

*There are some who regard 1958's "King Creole", with Elvis, as good. I am not among them.