The Dirty Dozen (1967) Reviews

• Smell the testosterone! The Dirty Dozen is the quintessential "guys on a mission" movie!

  Infofreak2003-06-08

  Quentin Tarantino looks like he just might follow through with his threat to make the ultimate "guys on a mission movie" if he gets his 'Inglorious Bastards' on to the big screen, but he'll be pushed to equal 'The Dirty Dozen', the quintessential movie in the genre. 35 years on and it's still one of the best WW2 adventure movies, and a strong contender for the ultimate guys movie. It shouldn't be taken too seriously - I don't think anyone is going to argue it's a realistic depiction of war - but it's still one of the most entertaining movies around, and it's impressive collection of tough guys and character actors is really hard to beat. Director Aldrich had previously made the classic noir 'Kiss Me Deadly' (starring Ralph Meeker who reappears here in a supporting role) and the wonderfully creepy 'Whatever Happened To Baby Jane', but this is arguably going to be THE movie he's remembered for. Screen legend Lee Marvin ('Point Blank', 'The Killers') with the assistance of his Sgt (Richard Jaeckel), must train a motley collection of criminal and misfits (including John Cassavetes, Jim Brown, Telly Savalas, Charles Bronson, Clint Walker and Donald Sutherland), for a suicide mission behind enemy lines. Marvin is just great, extremely cool and charismatic, but also a fine actor, something which is often overlooked. The ensemble cast (which also includes George Kennedy, and two future stars of 'The Wild Bunch', Ernest Borgnine and Robert Ryan) are uniformly excellent, but Cassavetes is particularly outstanding, Sutherland is memorable as a half wit, and Savalas is unforgettable as the religious psychopath Maggott. 'The Dirty Dozen' is first class entertainment and highly recommended. It put 90% of today's "action movies" to shame!

• A violent war film, and a great action-adventure entertainment...

  Nazi_Fighter_David2000-01-16

  Robert Aldrich seemed torn between American heroism or to indulge in a celebration of violence with an intriguing angle on combat in World War II adventure... A dozen dangerous criminals (thieves, murderers, rapists, psychopaths) - serving life sentences - offered a chance of pardon if they take part in a hazardous commando mission... They are trained to kill on a different level under the leadership of an insubordinate major, very short on discipline, and dropped in parachute near Rennes in Brittany to destroy a large fortified château used as a rest center and a conference place for general staff officers... The initial tension between Major John Reisman (Lee Marvin) and the convicts quickly collapses while Aldrich's ability was building considerable tough action scenes... Aldrich didn't neglect the character development of his superb cast offering some insights into the personalities of this unusual recruits... His believes that self-interest is the motive of all human conduct... Aldrich filled the sense of outrage of his characters, a sense so brave and different in "Attack," in 1957. The claims about capital punishment and the anti-militarism spirit were quickly discarded in favor of the terrific and cruel action scenes: the bloody climax which has a considerable number of German officers with the benefit of female companionship, all trapped in a bomb shelter... Marvin and Oscar Nominee John Cassavetes stand out among the cast... Lee Marvin creates the most interesting and influential violent hero: the sardonic major! The game of death is played at its best in a powerful man's picture... "The Dirty Dozen" formula was held later in André De Toth's "Play Dirty" in which a group of ex-criminals led by Captain Michael Caine, destroy a German oil depot in the North African campaign in World War II.

• One of the most quintessential macho movies of all time.

  Spikeopath2010-12-11

  The Dirty Dozen is directed by Robert Aldrich and adapted for the screen by Nunnally Johnson & Lukas Heller from the novel by E. M. Nathanson. It stars Lee Marvin, Ernest Borgnine, Telly Savalas, Charles Bronson, John Cassavetes, Donald Sutherland, Richard Jaeckel, Robert Ryan and Jim Brown. 1944, just prior to D-Day. Major Reisman (Marvin) is a none conformist kind of guy and he riles the higher brass no end, so it comes as no surprise to him that he is the man assigned the unenviable task of assembling a suicide squad of army criminals for a mission to destroy a château in France. This particular château has no military value as such, but as it is used by many of the Nazi big chiefs, destroying it whilst they relax inside will upset the German plans immensely. But can this rag tag band of murderers, rapists and thieves shape up into something resembling a fighting force? Their reward, should they survive the mission, is amnesty, but Reisman for sure has his hands full on both sides of the war. "One: down to the road block, we've just begun.. Two: the guards are through.. Three: the Major's men are on a spree.. Four: Major and Wladislaw go through the door.. Five: Pinkley stays out in the drive.. Six: the Major gives the rope a fix.. Seven: Wladislaw throws the hook to heaven.. Eight: Jiménez has got a date.. Nine: the other guys go up the line.. Ten: Sawyer and Gilpin are in the pen.. Eleven: Posey guards points five and seven.. Twelve: Wladislaw and the Major go down to delve.. Thirteen: Franko goes up without being seen.. Fourteen: Zero-hour, Jiménez cuts the cable, Franko cuts the phone.. Fifteen: Franko goes in where the others have been.. Sixteen: We all come out like it's Halloween..." The Dirty Dozen has become one of those films that is a perennial holiday favourite like The Great Escape, Zulu and The Magnificent Seven. Which while it most definitely deserves such big exposure, it's a little surprising it's part of the holiday viewing schedules given its cynicism and amoral core, something which is one of the many great & intriguing things about Aldrich's testosterone laced movie. Met with mixed reviews on release, with the negative side of the fence bemoaning its nasty violence and preposterous plot, The Dirty Dozen none the less performed great at the box office where it was the fifth highest grosser of the year and the number one money maker in terms of profit to budget. Coming as it did during the middle of the Vietnam War, it was evident that the paying public quite easily bought into the thematics of it all. Over 50 years since it first lured people into the picture houses, Aldrich's movie shows no sign of aged frayed edges, or better still, and more remarkable, the enjoyability factors it holds has not diminished. What makes it a great film, then? First off is the all-star macho cast assembled by Aldrich and his team, big hitters like Marvin (stepping in when John Wayne balked at the script), Borgnine, Kennedy, Ryan and Bronson were already names to the public, but these are also supplemented by soon to be "stars" like Cassavetes, Sutherland and Savalas (also stepping into a role vacated by another, this time Jack Palance who didn't like the racial aggression of the character) & stoic performers like Jaeckel & Robert Webber. Into the mix is curio value with the casting of singer Trini Lopez and Gridiron star Jim Brown. Throw Clint Walker into the pot as well and you have got a considerable amount of beef in the stew! Secondly the film led the way for a slew of movies that featured bad guys as heroes, so with that Aldrich's film holds up well as being a hugely influential piece. Then thirdly is that not only is it intermittently funny as the violence explodes on the screen, but that it's also chocked full of action and adventure. All that and for those so inclined you can find questionable morals under scrutiny and see the "war is hell" banner firmly flown during the nastiness of the missions' culmination. Split into three parts - meet the guys - see them train - and then the mission, pic has been criticised for its lack of realism, but is that really needed in what is essentially a male fantasy piece setting out to entertain? Besides which, lets applaud it for acknowledging that brutality and atrocities were committed on both sides of the fence, rest assured, The Dirty Dozen still had enough edginess about it back in the 60s! It's also true enough to say that the characters, are in the main, stereotypes, and that the unravelling story is a touch clichéd, but these are men that men want to be (okay maybe not Savalas' religious maniac rapist!) and men that women can cast a flirtatious eye over - there's plenty of character here to hang your hats and undergarments on as they appeal to the inner rebel hidden away in many a viewer. The messages in here are not sledge hammered into the story (Aldrich always said he wasn't making a message movie, just a film about camaraderie and unlikely heroes), and the construction of the action is top notch from one of America's most under appreciated directors. It's nicely shot in 70mm MetroColor/MetroScope by Edward Scaife (Night of the Demon/Khartoum) and features a suitably boisterous music score from Frank De Vol (Cat Ballou/The Flight of the Phoenix). It's a far from flawless picture, of that there is no doubt, but it's loved by millions and continues to gain an audience yearly by those who are willing to view it on its own entertaining terms. As a boy I wanted to be Lee Marvin because of this film, as a middle aged man now, I still want to be Lee Marvin in this film. That's yet another reason why The Dirty Dozen is so great. 10/10

• Excellent WWII Action Piece and Representation of 60s Pop Culture

  SgtSlaughter2005-03-28

  Acclaimed director Robert Aldrich (also famous to war film buffs for his rule-breaking drama, "Attack") twists the familiar 'unit picture' into a famous story of unexpected heroism in the midst of World War II. Instead of making his heroes clean-cut, American draftees, we're looking at the dirtiest convicts the Armed Forces has got to offer. OSS Major Reisman (Lee Marvin, "Hell in the Pacific") is an insubordinate Army officer who's facing a court-martial, when he's given one last chance for a reprieve: select twelve Army prisoners from a maximum-security detention center, train them for a top-secret mission behind the German lines, and then lead them into battle. If they succeed in the mission, they'll be released. For Reisman, it's a tough call, but it's his only chance to save his career. The men he was to work with are a mixed batch, and director Aldrich packs a lot of character development into a two-and-a-half-hour movie. The most important of the "Dirty Dozen" is Franko, a small-time Chicago hoodlum who's facing the gallows for robbery and subsequent murder of a British civilian. It's clear from the start that Franko is a loner who thinks he's big stuff, but Reisman manages to prove that he's really all talk. More than once, he considers and even attempts escape from the remote training camp that the Dozen are forced to build – but maybe, just maybe, beneath that rebellious attitude, there's a chance for redemption. Then there are some more sympathetic types: Wladislaw (Charles Bronson, "Battle of the Bulge") was once a front-line infantryman who shot his platoon's medic when the medic got scared under fire and started running – Bronson says "He took off with all the medical supplies… only way to stop him was to shoot him." Jefferson (Jim Brown, "Ice Station Zebra") has been convicted for murder – his defense is he was defending himself from vicious, racist MPs who were abusing him. Wladislaw and Jefferson find themselves allied in order to get Franko on their side, because they have faith in Reisman and aren't willing to let Franko's rebellion become infectious. Also in fine support is Clint Walker ("None But the Brave") as the big Navajo, Posey, who punched a man too hard for shoving him. He really didn't mean to kill him; he just doesn't like being pushed. Posey comes off as a cuddly teddy bear who'd never intentionally hurt a soul, and it's clear from the start that he's one of the good guys. Finally, Telly Savalas ("Kelly's Heroes") lends a hand as the psychotic, racist, religious fanatic Maggot, who believes his job is to punish the other 11 men for their "wickedness". His motives are never really clear; all we really know is that Maggot is somewhat unhinged and potentially dangerous. Even though Reisman and his squad don't get along, they're forced to become allied against a common enemy – the American General Staff, who want to do nothing short of shut the operation down. Aldrich again breaks the rules, making the conventionally "good guys" into the enemy. The Germans are barely mentioned throughout the first two acts, and only become involved for the explosive finale. The heart of this movie is anti-establishment behavior, right in the vein of the protest culture of the 60s: the good guys are the unshaven criminals, and the bad guys are the clean-cut, well-dressed Generals who come across as stupid and vain. As Colonel Everett Dasher Breed, Robert Ryan ("Flying Leathernecks") makes an excellent bully, a villain that the Dozen eventually unite to take action against. Once the men have been trained and are finally cooperating and acting as a unit, it's time to set them loose on the Nazis. And still, the story doesn't become stereotypical. The mission is simple: the men will parachute into occupied France, penetrate a château being used as a rest center for high-level German officers, and kill as many of said officers as possible in a short amount of time. This operation involves stabbing defenseless women, machine-gunning prisoners, and finally, locking several dozen German officers and their mistresses in an underground bomb shelter, pouring gasoline down on them through air vents, loading said air vents with hand grenades, and then blowing up the whole place. Characters and story aside, the film benefits from some superb editing by Michael Luciano. Director Aldrich and cinematographer Edward Scaife work hand in hand to compose every shot. The cramped, dank prison cells in the first act are utterly convincing, and the layout of the huge, magnificent German-occupied château looks, quite appropriately, like a cross between a marvelous mansion and an impregnable fortress. The battle scenes are well-choreographed, too. Never does a moment go by where we do not know where one encounter is happening in relation to what the rest of the squad is dealing with in and around the Château. Frank de Vol's sweeping score is used sparingly, and adds to both the humor and suspense of the picture. One scene, in which Donald Sutherland's character "inspects" a platoon of the 82nd Airborne, is set to a live orchestra's performance perfectly. War is a really a dirty business – this isn't a movie about men playing by the rules. It's about breaking every rule in the book to get a job done, and if a few innocent bystanders get in the way, they're simply collateral damage. On a higher level, Aldrich's film reflects culture attitudes of the late 60s. Moviegoers wanted a film which encouraged breaking the rules, which showed the higher levels of the American military as deeply flawed, and made the dregs of society into the heroes of the piece. It's a cynical representation of the time it was made in, but holds up flawlessly 40 years later, in a culture which has probably been shaped by the attitudes the film reflects in every frame. 10/10

• Splendidly Produced; a Tough and Tough-Minded Film

  silverscreen8882005-06-19

  Many viewers of film, myself include, rate this as one of the most exciting "mission"'' stories of all time. Adapted from an intelligent but Freudian source novel, the plot theme is a subtle one for a movie; it's about convicted men in WWII being given odds for life in the form of a suicide mission that may wipe their slates clean-- or perhaps not... its main theme is self-assertion, set against its opposite, enforced repression. The key to every action men undertake in this very tough and and tough-minded Nunnnally Johnason and Lukas Heller script is: "Is that person dealing with the reality of the world of and his/her own responsibility to act?" From convict Telly Savalas' character, mystical murderer of women who claims a divine calling to punish their sexuality, to Charles Bronson and Jim Brown who reacted to persecutions and are innocent by reason of self-defense, to their leader, the mission's architect, Major Reisman, who wants his plan to go forward his way despite resistance from brass, every man of the outfit is tried against the same standard. Jimenez is climbing a rope and says he can't make the tower; Franco refuses to shave because the officers have hot water and he does not, Posey can't control his temper, control-freak Col. Breed hates any man who does not go by the book; etc. As a production, Robert Aldrich's direction is probably his masterpiece; the acting is far above average, especially Lee Marvin, Charles Bronson, Donald Sutherland, Clint Walker, Robert Webber, energetic John Cassevetes and Al Mancini; the inspired casting of powerful top-sergeant-level Ernest Borgnine as an obviously far-beyond-his element general works brilliantly. The art direction, special effects, sets, and music (by Frank de Vol) all complement a taut script filled with memorable terse dialogue. Entire sequences such as the selection interviews for the mission team, the building of the camp, a visit to Breed's hq, Breed's invasion of the camp, the training regimen, the "graduation party", Reisman's verbal defense of his men, the war games' challenge, preparing for the mission, the early invasion steps, Maggot's adlib, the attack by Reisman's team, the escape and the hospital climax and denouement--all these sections are made memorable to many admirers of this beautifully made and unusual story. As officers attached to the mission, George Kennedy, Richard Jaene-too-subtle secondary theme of the film is: the wrongness of arbitrary power in anyone's hands, including Nazis, US army officers or their brutal agents (such as Breed's men who beat up Charles Bronson for information). The film is about individuals who when they harm no one else and are effective human beings, men who can always get the job done, always control themselves. who need to be free to operate. Such men the film says are "heroes"--men with an unusual ability to create results on Earth; the sort of men films ought to be made about in a nation that talks individualism and claims to value capability. This is a great adventure, of enduring artistry, occasional brutality and intelligently-developed dialogue. It has logical actions, and spectacular physical performances and This is a strong and well-thought-out adventure film, one of the richest of its genre, to be watched many times.