Arkadin

Thank you for the kind words SP. I personally feel KR (along with Renoirs LA GRANDE ILLUSION (1937)) is possibly the best P.O.W. film ever made. I would be interested in hearing your comments and thoughts on the movie after you see it.

Hi Kim, I originally came to KR though Clavells novel. The film follows things pretty close, but does omit Peter Marlowe's best friend Sean (although he is mentioned while a the doctor treats Marlowes arm) who acted out all the female parts in the camp plays and became a drag queen. Also, the King and Marlowe slip out of the camp and visit a nearby village. While these things are important, I think Clavell did an incredible job pairing down his book into a film that would indeed pass the censor board. Still, you might look into the book if you want a bit more depth and explanation. Peter Marlowe also reappears in Clavells NOBLE HOUSE (Grey is also present) as the writer of KR. In that book, Clavell offers many insights to his thoughts behind KR. Interesting reading if you like such things.

In his novel, James Clavell calls Changi; Genesis: Beginning again. These men have indeed encountered rebirth. Dealing with incarceration in a Japanese prison camp, King Rat (showing on TCM 2-21) holds none of the usual clich?s of a WWII P.O.W. film. There are no escape attempts, uprisings, or flag flying patriotism scenes here. Instead, we see real men gnawed by hunger, physically broken, and fighting to retain their sanity. 1945. Flanked by the sea on one side and surrounded by deep jungle, Changi is an isolated camp on the eastern coast of Singapore. There is nowhere to run. The Japanese control the men mainly through starvation and lack of medical attention. Rule of the camp is left to those inside the wire with British, Australian, and American officers in charge of their own men. The death rate is high. One man, a nameless American corporal, seems to have the best of everything. Through shrewd cunning and trade, ?The King? as he is known, has become the wealthiest man in the camp. Provost Marshall Robin Grey, is sure that the corporal?s riches come at the expense of others, and is determined to see justice done. The two begin a game of cat and mouse, but we?re never sure which is predator or prey. Entering this personal war, is Flight Lt. Peter Marlowe. An upper class Brit, Marlowe is first valued by the King as an interpreter who could help his trading abilities with the Japanese guards. As time wears on and the two men gain respect for each other, Marlowe must make moral choices between what he?s been taught about honesty and fair play vs. survival. Although Clavell had written a best selling novel, many of the situations and storyline of King Rat were un-filmable under the Hays code. Fortunately, Clavell was also an excellent screenwriter (To Sir With Love [1962], The Great Escape [1963]) and chose to adapt his own work for the film. While some parts of the book were excised for language, sexual content, and time constraints, King Rat comes to the screen very much intact regarding it?s message and intent. That many scenes, including overt homosexuality managed to escape the cutting room floor, is a credit to Clavell?s deft storytelling ability. This is a very stylized picture, but it never loses its authenticity or drops the threads that hold its story together. Director Bryan Forbes utilizes many techniques popularized by the French New Wave. His use of freeze frames, quick cutting close ups, and superb camera movement, act as our eyes, drawing us into the camp and the lives of these men. Composer John Barry?s lyrical score adds a mournful quality, blending eastern and western instruments, and enhancing the moodiness of the film. But it?s the great acting that makes this work live and breathe as few films ever have. George Segal as the King, gives the best performance of his career here in an understated tone, while Tom Courtenay (Grey) and James Fox (Marlowe) are vivid characters that walk wide emotional lines. Also, look for Patrick O?Neal as Max, playing a great supporting role. Although Clavell makes all these characters multidimensional and sympathetic, the entire cast interprets them with a heartbreaking realism rarely seen in motion pictures. While King Rat can be appreciated purely as a war film, it deals with life on many different levels. Its focus is not actual war or escape, but individuals living under difficult circumstances and how they react within them. Are they adapting and changing their circumstances--or merely changed by them? The movie also deals with class structure and political ideals in the three leads. The anonymous corporal is of the lowest rank, yet uses mettle to supercede all rank. Some might identify the King with the vermin of the film, but that?s much too easy an answer. His friendship with Marlowe is real?which is also the reason why it cannot remain as such when the war ends. Grey?s socialistic ideas of merit and seething hatred of class are pitted against his insecurity and inability to take individualistic stands?even when the cause is just. Peter Marlowe is our touchstone, our identifying character. Unwilling to grovel, he is respected by the King. The American in turn, teaches him that a stiff upper lip cannot feed a hungry man or save his friends. Knowledge and ability are power and should be used as such. Does the King corrupt Marlowe?s nature? Or is he simply opening his eyes to the facts of life and the fa?ade he?s been living under all these years? It?s interesting to note that those who are deemed failures in society are the ones who flourish in the camp. Precisely because they exploit their abilities and know that life without respect is better than death--because they?ve never had respect to begin with. Steven, the homosexual nurse, is able to cadge cigarettes and all kinds of other things that would never be given to a heterosexual male. Also, his skills and compassion as a caretaker save lives and ease the suffering of many men. The King lives by a hustler?s street code that allowed him merely to survive on the outside, but here with the playing field leveled, he comes into his own. These two men (and others) teach Marlowe that all men are members of the human race, irrespective of class or background. All in the camp make compromises. As Marlowe tells Grey, ?We?re all liars. You?ve got to be a liar to stay alive.? But does the pressure cooker grind actually change a man?s nature?or bring out what was always inside him? King Rat seems to suggest the latter, and for many, the greatest terror is coming to terms with what lurks deep within. Corruption is everywhere and takes many forms, but as in everyday life, the truly diabolical are often the most self-righteous. Although maimed and scarred, physically and spiritually, these men have come to a new understanding of what life is, and the fuel that sustains it?be it food, camaraderie, faith, or pure hatred. Survival is not a matter of strength, but adaptability and mutation. Life is no longer just a heartbeat or pulse, but the ability to live in a cruel unconscionable world without being broken by despair. This is Genesis: Beginning again.

As for what TCM was thinking, I'm guessing that they thought it was a film that Underground fans would enjoy--and they're right! http://forums.tcm.com/jive/tcm/thread.jspa?threadID=120471&tstart=0

Have the disc, have not watched lately. It's the kind of film that is great, but not something I can personally watch all the time because it's so heartbreaking.

Films are recut and edited all the time. I don't like it, but unfortunately it happens. As for KOS, I'd say we got off light. Having "This Bitter Earth" reprise actually adds an interesting new dimension to the film. Burnett made the choice on the replacement music and I personally think he did a great job with what he had to work with. While I agree with you that films should be uncut and unedited, I would personally rather have the film than not have it. Welles Magnificent Ambersons cutting by studio heads at RKO was one of the worst travesties of celluoid, but I still love the film in spite of the cuts and butchered ending.

Burnett said that they tried to get the rights, but whoever had them would just not let go. "This Bitter Earth" actually plays twice. It was originally used with Stan's lonely dance with his wife and then reinserted at the slaughterhouse ending. You have to realize the whole reason KOS could not come to video for years is because Burnett never secured the rights to these songs. As a result, the only way you could see the film was an actual theatre showing. In bringing the film to DVD they were able to secure all the rights but this one song. This is actually a marvelous achievement considering all the individual holders and copyright laws.

This is great Fred. Have you thought about maybe starting a thread in this section and maybe doing a film a week? I know I would be reading it with interest!

What you have seen is the latest directors cut from the last few years. It's the same cut from the DVD. Yes, about 18 min. of the film has been edited out, but I think TCM is just playing this film in the last cut that has been availible. I have older VHS tapes where TCM showed the original scenes, so they have shown it that way. Maybe that print is not availible to them anymore or they are just coming straight off the DVD.

I was already set to record because of the names, but it's nice to have reassurance. Thanks for the review.

Hey MissG., Enjoy the trailer on me: http://www.youtube.com/watch?v=ANRjZ_4RZ5U

I've been requesting Johnny Got His Gun (1971) for quite a long time from you guys. Venus in Furs (1970) is another film tailor made for Underground. Finally, One Day in the Life of Ivan Denisovich (1970) might not venture into explotiation or shock, but it's truly a great film valued by a small part of the film world (Isn't this a cult film defintion?). Waddya say Underground1, got any room for these gems in the big scheme of life?

OrsonLubitsch wrote: What makes the film particularly daring is that the status quo represented by Bergman's husband (big business), priest (religion) and doctor (science) label her generosity and altruism as pathological. Middle class/bougeoise values dictate that it is forbidden to treat those from the lower classes as human beings. Very true. Irene's life and ideals are totally opposed to what most value or find important in this life: "Love for others is born out of the hate I feel for myself." "My ideals are those who need me day by day." "I want to live with the others and save myself with them. I'd rather be lost with the others than saved alone." "When you're bound to nothing--you're bound to everybody"

The Verdict is my favorite Newman film and I personally believe it's his best performance. The colors and shots in this movie are truly amazing.

I think it was actually a sheep tongue. I remember reading a book on this film, and Lewis commented on how calm and patient the girl was to hold this nasty decaying tongue in her mouth for retakes so they could get the shot just right. It even creeped him out.

I deleted this post. Message was edited by: Arkadin

Hi OL, No I haven't seen "The Young One", but will make it my business to do so. Definitely agree about "Europa 51". It's unbelievable that film is not on DVD. I love "Stars in My Crown" as well, but saw "El Cid" first as a child and was affected deeply by Rodrigo's choice of life and manner of death (glad it's finally out on DVD!). When choosing five films, I could go on and on with great movies, but I chose five works that influenced my life and inspired my search for other great films. If I hadn't seen these (most of them at a pretty young age) I would never have discovered so many other treasures. These films might not be important in film history or landmarks in their genres, but they all hold a place in my heart.

Five films that have been important to me would be: Harvey (1950) This was the first movie I ever remember seeing. My father introduced it to me when I was extremely young. Harvey is mainly looked at as a comedy, but in actuality it's a very interesting look at mankind and how ones view of it defines character. El Cid (1961) Another very early film for me (maybe 6 or 7 yrs old?). Rodrigo Diaz de Vivar is an amazing example of spirituality, honor, justice, and mercy. As in Stars in My Crown (1950), two friends are of completely different faiths and races, but they never condradict their loyalty to their beliefs or each other. Day of Wrath (1943) This was my first foreign film and still my favorite of Dryers works. I entered into a new world in seeing films from other countries and I've never quite recovered. Does Anne have supernatural powers? Can she command life or death? It doesn't really matter as she is simply a scapegoat for societies own wicked conscience. The Lion in Winter (1970) A Christmas card from Hell, Lion is perhaps one of the most perceptive views of family, manipulation, and the art of verbal fencing ever to grace the screen. As Henry says: "It's good to be King", but where does that leave everybody else? The Wild Bunch (1969) Holden's Bishop Pike deals with failure. Failure to live up to his own ideals and code, command his men, or even the betrayal of his own body to perform as it once did. Unlike others who find acceptance, Pike's salvation comes from honoring his debts--even when it costs him all. A classic I'm embarassed to admit I haven't seen: Lots I'm sure, but to pick one: Boys Town (1938) Something I've watched more times than I can remember: This one's even more difficult, but three films I've intensely studied over the years are Los Olividados (The Young and the Damned [1950]), Citizen Kane (1941), and Europa 51 (1952)

Oops! My apologies Diana. I'm 39. I did not mean to imply that you were by responding to your post.

39

It's gonna be an early edition for tomorrow morning, but I hope everyone gets to see this classic. Great performances, camerawork, and story.

Venus in Furs (1970) Coonskin (1975) Beat the Devil (1953) High School Confidential (1957) Black Sabbath (1964) Night Tide (1961) Los Olividados (1950) Performance (1970) Marat Sade (1971) The Man Who Fell to Earth (1976) Blade Runner (1982) Johnny Got His Gun (1970) The Stunt Man (1980) Bring Me the Head of Alfredo Garcia (1974) Seconds (1968) Beyond the Valley of the Dolls (1970) My Dinner With Andre (1981) The Innocents (1961) Across 110th Street (1972) Gates of Heaven (1978) Maniac (1933) Repulsion (1965) The Face Behind the Mask (1941) One Day in the Life of Ivan Denisovich (1970) Last Year at Marienbad (1961) Brother John (1970) Eating Raoul (1982) Animal Farm (1954) Cotten Comes To Harlem (1970) The Bitter Tears of Petra Von Kant (1972) Slaughterhouse Five (1972) The Face of Another (1966) Don't Look Now (1973) Man Bites Dog (1992) Cul De Sac (1966) Claire's Knee (1970) Chinese Roulette (1976) Shock Corridor (1963) The Ruling Class (1972) The Wall (1982)

FORCE OF EVIL is my personal favorite of the Noir genre.

A little footage:

Wow! Thanks for the info, Fred.