"In Harm's Way" was about the last of the major films made from those big, best-selling novels about WW2 that were written by men who had "been there".
The 1950s was their time: "Battle Cry", "The Young Lions", "From Here to Eternity", "The Caine Mutiny ", "Between Heaven and Hell", "In Love and War" and others.
In 1965, Otto Preminger's "In Harm's Way" made from James Bassett's novel was somewhat of a throwback despite contemporary hairdos and other anachronistic touches. That era of movies had passed. Those authors who had served in the war had got "The Great American War Novel" out of their systems.
With that said though, 55 years later, "In Harm's Way" holds up pretty well.
The place names and battles in the story are fictionalised. The film gives a feeling for the power plays and the command structure, and you can half recognise the campaigns it was based on, but the fake names weakened the credibility in the same way as did Norman Mailer's fictional island in "The Naked and the Dead" (1958).
The conflict between Admiral "Rock" Torrey (John Wayne) and his son Jeremiah (Brandon de Wilde) sits more comfortably within "In Harm's Way" than does the similar father/son conflict played out in the supposedly historically accurate "Midway" (1976).
Preminger knew the benefits of going on location; the film looks fabulous in wide-screen B/W. Real ships and planes gave it authenticity even if military buffs can pick the modern substitutes. Apparently Preminger threatened to use the Brazilian Navy if the U. S. Navy didn't come to the party.
Preminger also knew the value of music. Jerry Goldsmith composed a cracking score for this one. It had nothing to do with the 1940s or even the 1950s for that matter, but it has punchy themes such as "The Rock", and cool ones like "Native Quarter".
Preminger pushed the censorship boundaries. Petite Jill Haworth's character draws men like a magnet resisting three separate gropes. The scene with Kirk Douglas is disturbing, but the Hollywood Production Code, which ended a few years later, probably saved her from something more explicit.
"Otto Preminger: The Man Who Would Be King" by Foster Hirsch has illuminating information on the making of all his films and his life. He had a reputation for monstering his actors, and if they let him, he did. "In Harm's Way" was probably the last of his good movies. It was misses rather than hits after that.
The 1950s was their time: "Battle Cry", "The Young Lions", "From Here to Eternity", "The Caine Mutiny ", "Between Heaven and Hell", "In Love and War" and others.
In 1965, Otto Preminger's "In Harm's Way" made from James Bassett's novel was somewhat of a throwback despite contemporary hairdos and other anachronistic touches. That era of movies had passed. Those authors who had served in the war had got "The Great American War Novel" out of their systems.
With that said though, 55 years later, "In Harm's Way" holds up pretty well.
The place names and battles in the story are fictionalised. The film gives a feeling for the power plays and the command structure, and you can half recognise the campaigns it was based on, but the fake names weakened the credibility in the same way as did Norman Mailer's fictional island in "The Naked and the Dead" (1958).
The conflict between Admiral "Rock" Torrey (John Wayne) and his son Jeremiah (Brandon de Wilde) sits more comfortably within "In Harm's Way" than does the similar father/son conflict played out in the supposedly historically accurate "Midway" (1976).
Preminger knew the benefits of going on location; the film looks fabulous in wide-screen B/W. Real ships and planes gave it authenticity even if military buffs can pick the modern substitutes. Apparently Preminger threatened to use the Brazilian Navy if the U. S. Navy didn't come to the party.
Preminger also knew the value of music. Jerry Goldsmith composed a cracking score for this one. It had nothing to do with the 1940s or even the 1950s for that matter, but it has punchy themes such as "The Rock", and cool ones like "Native Quarter".
Preminger pushed the censorship boundaries. Petite Jill Haworth's character draws men like a magnet resisting three separate gropes. The scene with Kirk Douglas is disturbing, but the Hollywood Production Code, which ended a few years later, probably saved her from something more explicit.
"Otto Preminger: The Man Who Would Be King" by Foster Hirsch has illuminating information on the making of all his films and his life. He had a reputation for monstering his actors, and if they let him, he did. "In Harm's Way" was probably the last of his good movies. It was misses rather than hits after that.