Copyright 1955 by Columbia Pictures Corp. New York opening at the Capitol: 10 February 1955. U.S. release: 9 February 1955. U.K. release: April 1955. Australian release: 29 September 1955. Sydney opening at the State: 29 September 1955. 12,317 feet. 137 minutes.
SYNOPSIS: When the United States Army tries to retire him, Sergeant Marty Maher, athletic trainer at West Point military academy for over 40 years, protests to the President of the United States, whom he had known as a young West Pointer. In doing so, he relates his life history: how he came to West Point as a young Irish immigrant and got a job as a waiter, then took the oath, married Mary O'Donnell, a lively colleen; how, as athletic trainer, he also became friend and adviser to generations of young cadets, including Eisenhower himself, Omar Bradley and James Van Fleet, and others.
NOTES: Negative cost: $1.748 million. Initial gross domestic rentals: $5.635 million, making it number 16 at U.S./Canadian ticket windows for the year. Needless to say, the film took nothing like this coin elsewhere, despite the box-office lure of Tyrone Power, Maureen O' Hara and Robert Francis. In Australia, for example, Columbia's receipts did little more than cover the exchange's modest advertising, print and distribution costs.
The same procedure was followed by the critics. Whilst American scribes were excessively generous in their praises, overseas reviewers were more guarded, even lukewarm.
Last movie appearance of Robert Francis who was killed in an air accident in 1955. After his stunning debut in "The Caine Mutiny" (1954), Francis made "The Bamboo Prison" and "They Rode West", before "The Long Gray Line".
Motion picture debut of Betsy Palmer.
COMMENT: For those of us with little love for things military in general and xenophobic institutions American in particular, this paean strikes more than a mildly sour note. The fact that it is directed by John Ford only makes our disappointment the more keen. Ford has pulled out all his usual tricks; but the insubstantial and unsympathetic subject matter serves only to starkly reveal the director's various familiar stratagems and sleights of hand for the obvious conjurer's devices they are.
However, Ford can be generously lauded for one thing: He consistently uses the CinemaScope camera most effectively. Seemingly endless lines of marching men are paraded right across the screen, whilst set- pieces like the cadets farewell at West Point railway station maximize the impact of crowd scenes. For more human encounters, Ford frames his picture between archways and colonnades to restore the welcome intimacy of the old postage-stamp ratio. I thought Power's performance improved as the picture progressed and that he seemed more convincing in his old-age characterization than in his fresh-from-Ireland youth where his accent and mannerisms struck me as boisterously artificial. Similarly, Maureen O'Hara aged gracefully. From the gauche colleen of her first scenes of kitchen farce to the tired and spent mother of the Academy, Miss O'Hara presents a devoted portrait that backs up the other main players like Donald Crisp (here at his most winning) and Robert Francis. Newcomers Betsy Palmer and William Leslie are also admirably impressive.
In addition to these marvelously worthwhile performances, the movie also offers some great production values, including Charles Lawton's superlative photography. Even the many West Point locations are not without interest.
Finally, it must be admitted that I did discover three or four genuinely moving moments and at least as many in a lighter vein. But are eight moments enough to sustain involvement in what is basically a jingoistic exercise that tries our patience for 138 minutes?
OTHER VIEWS: Typical John Ford production — it even has a reprise, virtually the director's trademark, which I found moving anyway, maybe I'm a pushover for this sort of guff. The John Ford Stock Company is on hand too (Jack Pennick is a recruiting sergeant) and Tyrone Power is in there with an Irish accent that is more than half-way realistic. True, it's an out-and-out sentimental yarn but it's not dwelt on to the point of nauseousness, nor is its boisterous good-humor turned into the incredibly overdone and mindlessly exaggerated slapstick of "Donovan's Reef" or "The Wings of Eagles"... A long running time, but never boring... Robert Francis turns in his usual very capable performance. - JHR writing as George Addison.
SYNOPSIS: When the United States Army tries to retire him, Sergeant Marty Maher, athletic trainer at West Point military academy for over 40 years, protests to the President of the United States, whom he had known as a young West Pointer. In doing so, he relates his life history: how he came to West Point as a young Irish immigrant and got a job as a waiter, then took the oath, married Mary O'Donnell, a lively colleen; how, as athletic trainer, he also became friend and adviser to generations of young cadets, including Eisenhower himself, Omar Bradley and James Van Fleet, and others.
NOTES: Negative cost: $1.748 million. Initial gross domestic rentals: $5.635 million, making it number 16 at U.S./Canadian ticket windows for the year. Needless to say, the film took nothing like this coin elsewhere, despite the box-office lure of Tyrone Power, Maureen O' Hara and Robert Francis. In Australia, for example, Columbia's receipts did little more than cover the exchange's modest advertising, print and distribution costs.
The same procedure was followed by the critics. Whilst American scribes were excessively generous in their praises, overseas reviewers were more guarded, even lukewarm.
Last movie appearance of Robert Francis who was killed in an air accident in 1955. After his stunning debut in "The Caine Mutiny" (1954), Francis made "The Bamboo Prison" and "They Rode West", before "The Long Gray Line".
Motion picture debut of Betsy Palmer.
COMMENT: For those of us with little love for things military in general and xenophobic institutions American in particular, this paean strikes more than a mildly sour note. The fact that it is directed by John Ford only makes our disappointment the more keen. Ford has pulled out all his usual tricks; but the insubstantial and unsympathetic subject matter serves only to starkly reveal the director's various familiar stratagems and sleights of hand for the obvious conjurer's devices they are.
However, Ford can be generously lauded for one thing: He consistently uses the CinemaScope camera most effectively. Seemingly endless lines of marching men are paraded right across the screen, whilst set- pieces like the cadets farewell at West Point railway station maximize the impact of crowd scenes. For more human encounters, Ford frames his picture between archways and colonnades to restore the welcome intimacy of the old postage-stamp ratio. I thought Power's performance improved as the picture progressed and that he seemed more convincing in his old-age characterization than in his fresh-from-Ireland youth where his accent and mannerisms struck me as boisterously artificial. Similarly, Maureen O'Hara aged gracefully. From the gauche colleen of her first scenes of kitchen farce to the tired and spent mother of the Academy, Miss O'Hara presents a devoted portrait that backs up the other main players like Donald Crisp (here at his most winning) and Robert Francis. Newcomers Betsy Palmer and William Leslie are also admirably impressive.
In addition to these marvelously worthwhile performances, the movie also offers some great production values, including Charles Lawton's superlative photography. Even the many West Point locations are not without interest.
Finally, it must be admitted that I did discover three or four genuinely moving moments and at least as many in a lighter vein. But are eight moments enough to sustain involvement in what is basically a jingoistic exercise that tries our patience for 138 minutes?
OTHER VIEWS: Typical John Ford production — it even has a reprise, virtually the director's trademark, which I found moving anyway, maybe I'm a pushover for this sort of guff. The John Ford Stock Company is on hand too (Jack Pennick is a recruiting sergeant) and Tyrone Power is in there with an Irish accent that is more than half-way realistic. True, it's an out-and-out sentimental yarn but it's not dwelt on to the point of nauseousness, nor is its boisterous good-humor turned into the incredibly overdone and mindlessly exaggerated slapstick of "Donovan's Reef" or "The Wings of Eagles"... A long running time, but never boring... Robert Francis turns in his usual very capable performance. - JHR writing as George Addison.