In the winter of 1944, the Allied Armies stand ready to invade Germany at the coming of a New Year. To prevent this occurrence, Hitler orders an all out offensive to re-take French territory and capture the major port city of Antwerp. "The Battle of the Bulge" shows this conflict from the perspective of an American intelligence officer as well as from a German Panzer Commander.Written by
Anthony Hughes <email@example.com>
Although it is claimed by knowledgeable film people that so-called Super-Cinerama was already in use as early as 1962, this was the first film that was actually advertised in the trailers as being shown in that format. The resulting image did not turn out to be larger than ordinary Cinerama, since the film was actually shot in Ultra Panavision, shown with one projector instead of three electronically synchronized ones, and merely blown up in size to fit the giant curved screen. See more »
When Colonel Hessler has his wine glass filled up by Conrad, whom he asks to sit down and join him in a glass of wine, the Colonel's glass is empty when Conrad sits down, although it had just been filled up in the previous shot. See more »
Some TV versions are nearly complete. TNT aired one in the late 1990s which was missing the Overture, Intermission, Exit Music and also excised most of the Cinerama footage of the train making its way through the mountains. The pan-and-scanning on this version was significantly different than that on the previous VHS releases. See more »
A disclaimer on the end credits states, in effect, that the events and people in this picture bear no relationship to a battle by the same name that took place in WW II. Filmmakers have dealt with the problem of filming the big event in various ways; some show many fragments, following individuals here and there; some concentrate on the view of the generals, with long-shots of big battles; some opt for telling just a little part of the big picture, a microcosm. The solution here is to pretend that only a few dozen people were actually involved in the whole campaign.
One has to assume that someone had a cavalry western script but realized westerns weren't selling any more, so they sold it by doing a quick rewrite to make it a war movie. Henry Fonda is the grizzled scout who insists the Indians are about to attack, based on his reading of the signs in the dirt, and who pulls his boss, the general, out of the fire time and again. Yes, it's Hank who, in the first skirmish, moves up to see if the Indians have a cache of rifles, who recognizes their leader as an escaped renegade fighter-Indian, who discovers that the friendly Crows at the pass are actually deadly Apaches in disguise, who, at a number of critical points, goes out with his young partner to scout around and comes back to the campfire with vital information, who realizes that the big battle is actually a ruse for the Indians to send a party to the water hole to fill their canteens with badly needed water, and who, with an arrow sticking through his shoulder, singlehandedly leads a few raw recruits in a clever maneuver to keep the Indians from the water hole and saves the day. In the last shot, the Indians march back to the reservation across the desert. The Fonda character, in particular, seems to still be in that western. He isn't just A scout, he's THE scout, the only scout, and all intelligence info that's important to the battle is his. The other characters fit the western mold pretty well also, including Shaw's Nazi. Only the Savalas character is indelibly out of WW II (or, more accurately, out of the Bilko show).
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