Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Gary The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

edwagreen Stanley Kramer always made such wonderful social conscious films such Judgment at Nuremberg, the hilarious comedy It's A Mad Mad Mad World and The Defiant Ones. He must have had a bad day when he made this 1952 misery of a film.We never see the enemy. We don't know exactly where the film is taking place and the scenes with the women are absolutely contrived and out right ridiculous at best.For 1952, Lee Marvin looks old already and war in itself is made to look ludicrous by what Small was doing all along during this 80 minute film debacle.Of course, you make every effort to save a missing soldier cornered by the enemy. The enemy was the one who thought of such a miserable film.

wpg39 At first may seem like a poorly written and acted movie but you must REMEMBER that this movie was made in 1952 and one must use his/her imagination to fill in the missing special effects that we've been forced to endure.Many movies of the era used the same format but the movie was about individual soldiers and not the war. I'm sure combat veterans would be better suited to comment on the goodness/badness of the film but suspect they would like it.Maybe Lee Marvin's first starring role? But the character of Sergeant Joe Mooney was carried out thru his career and it is always a pleasure to watch.A good movie for its time and remains so in my humble opinion.

max von meyerling An example of that now nearly extinct oxymoron- the quiet war movie. These were inevitably adaptations of plays. The theatre, in the olden days before television, 24/7 news cycles etc., once prided itself on being able to respond to current events and the significance of contemporary history. The WPA Theatre Project produced the Living Newspaper during the New Deal. After every war there were plays dealing with that war but unrecognizable from war movies because of the confined spaces of a theatre. The post WW1 period was particularly rich in war plays. This was the height of theatre and I guess the masterpiece of this genre was R. C. Sheriff's Journey's End.American Lawrence Stallings (What Price Glory?) and others also wrote plays in the genre. Playwrights responded to ww2 in much the same way. Again the restrictions usually dictated a one set play, with maybe some change of scene in act two and perhaps a small adjunct set to play out some subsidiary action. These were later translated into films. EIGHT IRON MEN was adapted from a play and reduces the agonies of fighting a war to something like real time and a single human life. The classical unities of time and space are nearly totally observed. Remarkable for a war film. A eight man squad led by Lee Marvin Sgt. Mooney) is quartered in the basement of a ruined house. A three man patrol comes back minus one man who is trapped in a bomb crater being swept by a fearsomely placed machine gun.The squad is due to be pulled back after 17 days on the line but are under orders not to go and rescue the pinned man. Captain Trelawny (Barney Phillips), aware of the heavy casualties of his unit, doesn't want three men killed trying to save one ("I came up here with a company and I'll be lucky to leave with a platoon"). The tension builds as it becomes closer to the time to move out and leave one of their buddies behind. That's it. Basically one set with brief forays into another set depicting a rubble strewn street being periodically swept by machine gun fire. There was some attempt at opening out by literally visualizing the sub-erotic sex fantasies of the men particularly Bonar Colleano (Collucci) ("Tonight I'll be whistling at every dame in the country. You can't keep a healthy guy like me stuck away like this for too long - I go crazy - I get hair on the palms of my hands - the beast rises in me.") but almost all of the tension is provided in the dialogue between the men.' The conclusions reached reflect the hard bitten cynicism of men at war, of being used by fate, and of the connecting sinews which build between men at their extreme.EIGHT IRON MEN is no masterpiece but it is very effective drama, just don't expect any of the usual visceral thrills which accompany most action oriented war films. There are no villains. The German's are never seen. The Captain is neither a sniveling coward nor a vain martinet who gets his men killed for his greater glory. Though he is aware his 'efficiency' is being scrutinized by higher ups, he shows some repressed satisfaction at the recovery of the missing man. This is not the kind of film where the more knowledgeable in the audience can guffaw "Aw, real people don't act that way."This is merely a crumb in the vast shitcake of the continuing cruelty of a mankind which seems eternally waging war with itself. Its unfortunate that not only is there no more theatre like this but there are no more films like this, nor even TV like this (not since the 50s actually). It has all been replaced by 24/7 news and a whole host of too highly paid self advertising jackanapes entertainers under the guise of political pundits.

howdymax This is a tense little war drama from Columbia. The production values aren't much, but they really don't have to be. Released in 1952 and directed by Edward Dmytryck, it deals more with the personal than the patriotic. It is a WW2 drama that tried to find an audience during the Korean War. That couldn't have been easy.It deals with the inter-personal relations between eight war weary GI's stuck up on the line in war torn European town. The lead is an ex-pat New Yorker named Bonar Colleano. He isn't well known in the states, but he was a big star in England during the war. Always playing the wise cracking Yank. His co-lead is Lee Marvin. He plays the squad leader and the glue that keeps these dogfaces together. The cast is rounded out by Arthur Franz, Dick(ie) Moore, and Richar Kiley. None of them big names in 1952, but all of them up to the job.We find this beat up group jammed in a cellar while one of them is pinned down in a foxhole by a German machine gun. The squad is told they will be pulled off the line and they have to decide if or how they are going to rescue their buddy. Each squad member faces his own moment of truth. Some show bravery, some cowardice, some indecision, and one is just trigger happy and about ready to go over the edge.I like this movie, but it does have a couple of problems. I mentioned the production values. It's a little set bound - almost like a stage play. Most of the action takes place in the cellar, and the exteriors are stock WW2 war torn European street. The dialogue does get a little corny in spots. But the main problem I have with this movie is the basic premise. I can understand an isolated group of guys, faced with the prospect of being pulled out of combat having mixed emotions about putting themselves back in harm's way to rescue a comrade, but that's the dilemma. How could they, in good conscience, leave him behind? Besides, this is an experienced infantry squad loaded with weapons. How could they not figure out a way to successfully assault a single machine gun nest. Despite these criticisms, the movie holds up well. The characters are human - not cartoons.It's hard to find, but if you're a war movie buff, keep looking.