Police detective Joe Leland investigates the murder of a gay man. While investigating, he discovers links to official corruption in New York City in this drama that delves into a world of sex and drugs.
American and Japanese soldiers, stranded on a tiny Pacific island during World War II, must make a temporary truce and cooperate to survive various tribulations. Told through the eyes of the American and Japanese unit commanders, who must deal with an atmosphere of growing distrust and tension between their men.Written by
Martin Booda <email@example.com>
The title is from John Dryden's poem, "Alexander's Feast", stanza 1: "None but the brave/ deserve the fair." See more »
In some scenes the Japanese officer is carrying a Walther P-38, which is a German-made pistol, but in other scenes he's carrying a Nambu, which is a Japanese-made pistol. See more »
Our island is a little chunk of coral in the Sakhalin archipelago. It is nameless and the Great War beyond its horizons ignores us, for we are the expendables of an amphibious landing, left to God, a forgotten outpost of the Imperial Japanese Army.
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The line NOBODY EVER WINS appears in place of "The End" just before the end credits start, which is appropriate given the film's anti-war message. See more »
Some prints of the film do not include subtitles for any of the Japanese sequences. See more »
In the midst of WWII, a pair of American transport planes (each full of Marines) is shot down. One (piloted by Walker) manages to crash land on a nearby uncharted island which happens to be inhabited by a small contingent of Japanese soldiers. Directed by Sinatra (in his one and only try), the film demonstrates the parallels and differences between these small units of soldiers on opposing sides and with varying backgrounds. Much of the film is devoted to the Japanese point of view as they are led by Mihashi (and most of it is presented in their native tongue with subtitles.) The rest concerns Walker, who takes charge of the remaining men, Sinatra, a boozy medic, Sands, a hopelessly eager upstart and Dexter, a grizzled Sergeant. Hostility between the enemies finally gives way to a sort of truce, or at least a cease-fire, until finally the men must live up to their country's expectations of eliminating each other. There's a lot of good in the film. It was an early example of showing more than one perspective with regards to enemies of America and it demonstrates, at times rather well, the ultimate futility and wastefulness of war. However, Sinatra, as a director, is in a bit over his head and the film is often static or choppy in it's narrative. There are also a ridiculous amount of scenes in which characters stay alive simply because either the enemy stops shooting (for no reason) or else misses by a mile. A lot of this could have been rectified in the staging of the battle sequences. Sinatra's role in the film is actually a supporting one, mostly consisting of one queasy, unbearably nerve-tingling sequence in which he is traded to the Japanese in order to perform surgery on one of their men. Otherwise, he is just onhand to provide the occasional snarky remark. Walker is a tower of virility and quiet strength. NO ONE wore a helmet like him or filled out their fatigues with more monument-like beauty. His enthralling baritone voice and piercing, ice-blue eyes make sitting through this film a little more enjoyable than it could have been without him. Sands is so unintentionally hilarious and so jaw-droppingly bad that his scenes ascend into some crazed, parodic comic stratosphere! WHAT was he thinking? It's like some teenage punk decided to portray a soldier the way he always dreamed of when in his sandbox as a child. His jaw, his posture, his accent.....all combine to create a memorably uproarious caricature. Dexter (the always-forgotten member of "The Magnificent Seven") has a couple of decent moments, notably in a conflict with Walker. Other soldiers are portrayed by healthy-looking, earnest actors who fit their roles well, though most of them don't get a chance to really shine. There are two very brief flashbacks by Mihashi and Walker that present the lady loves of their lives. Walker's is played (with hair and make-up that are about as 1940's as Sharon Tate in "Valley of the Dolls"!) by Stephens in her film debut. Though uneven, the film succeeds in presenting the enemy as human and in promoting the power of goodwill. The fact that Walker, in every frame, is breathtakingly handsome is gravy. (Oddly, he is pictured NOWHERE on the video box even though he is actually the leading man of the film!)
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