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“The Dirty Dozen”, Robert Aldrich’s 1967 adventure classic, would redefine a whole genre of films, as public attitudes towards warfare and heroism changed, due to Vietnam. With ‘heroes’ who were certainly not qualified, a mission that would require a level of cruelty film audiences had never before seen from American fighting men, and graphic language and bloodshed, the impact of the the film was both immediate (despite substantial ‘box office’, many critics panned the film as ‘disturbing’ and glorifying violence), and continuing (influencing films as diverse as “Patton” and “Saving Private Ryan”) . It can be viewed at many levels, as a crackling superb adventure story, an ‘anti-establishment’ and anti-war statement, the ultimate ‘buddy’ film…few films have generated as remarkable controversy, or stood the passage of time, better!
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Based on E.M. Nathanson’s new (of rumored ‘Death Row’ convicts offered a pardon or reduction of sentence for volunteering for a suicide mission), with a spacious gallop of the Pathfinders’ legendary “Filthy Thirteen” of WWII tossed in, the property was purchased as a potential starring vehicle for John Wayne. The Duke passed on the project, however (choosing to gain “The Green Berets”, instead) . Director Aldrich never envisioned Wayne in the lead, preferring WWII Marine vet Lee Marvin in the complex role of maverick Maj. John Reisman, and the actor, unusual from winning an Oscar for “Cat Ballou”, was dead-on perfect in the fraction. Aged stars Ernest Borgnine, Robert Ryan, Ralph Meeker, Robert Webber, George Kennedy, and Richard Jaeckel were cast as Marvin’s military allies and adversaries.
For the “Front Six” of the Dozen, irritable Charles Bronson (another WWII vet), John Cassavetes (who would garner an Oscar nomination), Telly Savalas (in the most ‘whacked-out’ role in his career), Clint Walker (of “Cheyenne” TV fame), football narrative Jim Brown (in only his second film), and celebrated singer Trini Lopez (in his film debut) would dominate the camouflage time, with a “Assist Six” of character actors in grand smaller roles, simply filling out the rest of the twelve parts. But a movie ‘miracle’ occurred; when Walker objected to a scene where, as a bogus ‘General’, he would idiotically review an Airborne unit (feeling it demeaned Native Americans, who his character portrayed), Aldrich passed the scene to “Relieve Six” actor Donald Sutherland…and the scene would spectacularly start his career, leading to his starring role in “M.A.S.H.”
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Aldrich’s meticulous shooting style, and the often rainy British weather (where the film was shot), more than doubled the shooting schedule, and after seven months on position, Trini Lopez (on the advice of friend Frank Sinatra), informed Aldrich and the producers that he was missing singing dates, and would need a pay hike to continue. To Lopez’ surprise, Aldrich ‘dropped’ him, having him die in the climactic parachute topple!
The director was warned that if he didn’t eliminate the film’s most controversial scene (pouring gasoline and dropping grenades on the women guests, as well as the Nazi officers seeking refuge in the bomb shelters), he would lose any chance of a ‘Best Director’ Oscar. After soul-searching, he left the scene in (”War is Hell, and HAS to be portrayed that diagram”), and while he sacrificed the prize, Robert Aldrich gave the film a brutal honesty that subsequent wars would sadly verify.
With loads of Disc Two Special Features that commence up the film and gives an insight into why it has become a ‘classic’ (including the first “Dirty Dozen” TV ’sequel’, a Lee Marvin Marine ‘Leadership’ training film, and an fantastic documentary on the “Filthy Thirteen”), it is absolutely an distinguished for any ‘War Film’ library.
“The Dirty Dozen” survived contemporary criticism, and has proven to be one of the most enduring war films of all time, as modern today as when it debuted in 1967.
Wow…this HD presentation captures everything, including (great maligned) film grain. It is most likely a better presentation than this film had when originally released to theaters. Visuals are wonderfully determined, the print is exceptionally super and the sound, for a movie almost 40 years customary, is top shelf. This is definitely the version to maintain!!
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