In 1942, Burt Lancaster, as Marine Sgt. James O'Hearn, is being court-marshaled for various offenses, including desertion and sinking a saloon. He stand firmly mute while various witnesses testify in such a way that he looks bad. Finally, when his friend's honor (Chuck Connors) is called into question, he decides to speak for himself at the trial.
"Foist," he explains, "we busted into that stinkin' Portagee dungeon and let them Free Frenchies go." The story is that he and his buddy, Connors, were left behind with Ginger, a saloon girl, (Virginia Mayo), when the Marines evacuated Shanghai. (I thought that was in 1939, not 1941, but let it go.) By a curious juxtaposition of events the trio wind up on a small, studio-bound South Sea Island called Namur, run by the Fascist-friendly Vichy French. They claim to be deserters in order to stay out of prison, and they are housed in the "hotel" run by a French woman and her "three lovely nieces." All of whom Lancaster seduces, while Connors is glued to Virginia Mayo, making goo-goo eyes at her and planning for a revolting event called "marriage." Lots of comedy as Lancaster and Connors -- in real life, both Irish athletes from New York City -- bop and deceive one another. Virginia Mayo's growing attraction to Lancaster only intensifies the rivalry.
But that's nothing compared to the fight they initiate against the "Krauts" and the "Japs". They manage to sink a fleet of Japanese barges on their way to Guadalcanal, and even a Japanese destroyer, at the cost of Connors' life.
Not much sense in going on about the plot. It's mostly comedic. The two tough Marines have to dress in frilly nighties while their uniforms are being pressed, for instance. As a comedy, this is pretty basic, and the absence of subtlety is notable but not necessarily regretted. There's plenty of action too, which I won't bother to spell out.
Lancaster grins and shows off his mouthful of chicklets. Connors seems made of some iron alloy. (The two men couldn't be more different in their political attitudes off the screen.) Virginia Mayo is stuck in the role of a perambulating floozy, and yet it may be her most animated performance on screen. One can imagine the director yelling at her, "More, MORE!" And she delivers.
It was made by the Warner Brothers. It could have been made by the Warner Brothers in 1939 instead of 1951, with Jimmy Cagney in the Lancaster role and some nobody in Connors' role. Man -- it moves FAST.
What a lot of fun.
"Foist," he explains, "we busted into that stinkin' Portagee dungeon and let them Free Frenchies go." The story is that he and his buddy, Connors, were left behind with Ginger, a saloon girl, (Virginia Mayo), when the Marines evacuated Shanghai. (I thought that was in 1939, not 1941, but let it go.) By a curious juxtaposition of events the trio wind up on a small, studio-bound South Sea Island called Namur, run by the Fascist-friendly Vichy French. They claim to be deserters in order to stay out of prison, and they are housed in the "hotel" run by a French woman and her "three lovely nieces." All of whom Lancaster seduces, while Connors is glued to Virginia Mayo, making goo-goo eyes at her and planning for a revolting event called "marriage." Lots of comedy as Lancaster and Connors -- in real life, both Irish athletes from New York City -- bop and deceive one another. Virginia Mayo's growing attraction to Lancaster only intensifies the rivalry.
But that's nothing compared to the fight they initiate against the "Krauts" and the "Japs". They manage to sink a fleet of Japanese barges on their way to Guadalcanal, and even a Japanese destroyer, at the cost of Connors' life.
Not much sense in going on about the plot. It's mostly comedic. The two tough Marines have to dress in frilly nighties while their uniforms are being pressed, for instance. As a comedy, this is pretty basic, and the absence of subtlety is notable but not necessarily regretted. There's plenty of action too, which I won't bother to spell out.
Lancaster grins and shows off his mouthful of chicklets. Connors seems made of some iron alloy. (The two men couldn't be more different in their political attitudes off the screen.) Virginia Mayo is stuck in the role of a perambulating floozy, and yet it may be her most animated performance on screen. One can imagine the director yelling at her, "More, MORE!" And she delivers.
It was made by the Warner Brothers. It could have been made by the Warner Brothers in 1939 instead of 1951, with Jimmy Cagney in the Lancaster role and some nobody in Connors' role. Man -- it moves FAST.
What a lot of fun.