Combat Films: American Realism, 1945-2010, 2d ed. by Steven Jay Rubin

By Steven Jay Rubin

Wrestle motion pictures have lengthy been a staple within the heritage of yankee cinema. This serious textual content bargains a behind-the-scenes examine the most vital American struggle movies of the final 60 years. in line with unique interviews, archival study and that includes infrequent photos, this ebook covers motion pictures which are thought of surprisingly lifelike for the style. the unique variation coated conflict movies via global battle II, whereas the up-to-date model contains seven new chapters, which deal with the Civil conflict, the yank gunboat presence in China within the Twenties, the Korean warfare, the Vietnam warfare, the struggling with in Mogadishu in 1993 and the conflict in Iraq. insurance is going in the course of the damage Locker (2009).

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S, were flown into Hollywood as a regular military unit on detached service, under the supervision of their regular division officers. Billeted in a motel down the street from the Culver City studios of MGM, the soldiers received $7 a day food allowance from the studio. For these veterans, Bastogne had been just another hitch of patrolling outside the city in the deep snow and bitter cold of the Belgian winter, bringing in occasional prisoners, dodging enemy artillery, struggling to heat their food over tiny foxhole fires and wishing they were somewhere else.

During the war, the true sacrifice of the airman depicted in films like The Dawn Patrol was seldom dramatized. Aerial warfare retained a distinct individualism and sense of adventure on the screen, while, in reality, military aviation had become more destructive than ever. Biplane chivalry had been buried in the rubble of Warsaw and Rotterdam. Individuality of the Eddie Rickenbacker variety had faded, crushed beneath the sheer magnitude of a modern air war. Aerial combat was now a massive undertaking fought by thousands.

Three. Twelve O’Clock High 45 Twelve O’Clock High is mostly about the high-tension waiting game that Frank Savage (Gregory Peck, left) and Harvey Stovall (Dean Jagger) undergo, as they wait for their group to return from a mission. Four grueling months in Italy filming Prince of Foxes with Tyrone Power had done little to weather King. Ten minutes after his first talk with Zanuck, King was in touch with 20th Century–Fox’s chief art director Lyle Wheeler. Through Wheeler, he discovered that former producer Lighton had picked Santa Maria, California, for the film’s primary location.

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