Operation Chromite (2016)

                   It took 35 years for another movie to be made about Inchon.  “Inchon” (1981) starring Sir Laurence Olivier is famous as one of the biggest turkeys of the 1980s.  “Operation Chromite” was the first joint American/South Korean production focusing on the Korean War since “Inchon”.  Continuing a recent trend that has included Bruce Willis, it stars a big American actor who clearly loves money and cares little for reputation.  In this case, Liam Neeson takes the cash and saunters as Douglas MacArthur.  Ironically, Douglas MacArthur turned in better acting performances than the actors who have portrayed him.

 

                   The title refers to the code name for the invasion at Inchon.  MacArthur’s plan was to make a daring landing behind enemy lines to change the momentum of the war.  The port of Inchon was a particularly difficult location for an amphibious landing.  Part of the problem was the tides and the mines.  To recon the harbor and gather intelligence information, a crack squad of eight South Korean soldiers are sent behind enemy lines.  They are led by Capt. Jang Hak-soo (Lee Jong-jae).   Plausibility gets off to a rough start when the men kill eight North Korean soldiers on a train and take their identities.  As per the war movie cliché, the uniforms fit perfectly.  They masquerade as an inspection team, but the local villain Lim Gye-jin (Lee Beom-soo) is suspicious because apparently some North Koreans had brains.  The clock is ticking.  Ticking toward when the crazy ass Korean combat kicks in.  Meanwhile, we intercut to the pompous MacArthur discussing his plan.

 

                   “Operation Chromite” is not among the better Korean war movies.  I don’t think it’s a coincidence that the worst ones have American involvement.  There certainly is a huge gap between a movie like this and movies like “Tae Guk Gi”.  You get the kick-ass combat cinematography Korean war films are noted for, but unfortunately the script and acting do not match the fireworks.  In this case, the plot starts off ridiculous and spirals to bonkers quickly.  There is very little resemblance to the actual invasion.  You will learn nothing historical from it. 

 

                   The acting is wooden, with Neeson leading the way.  It’s an embarrassing performance, but it gets forgotten in the lunacy that surrounds it.  There is little resemblance to reality and the poor CGI does not help.  The naval bombardment is straight out of a video game.  There is no character development other than Jang and Lim.  Jang is an action hero and Lim is a cartoonish villain.  The movie becomes a series of confrontations between the two.  Lim is one tough dude to kill.  It comes down to a tank duel, so try not to drink yourself into a stupor before the big finish. 

 

GRADE  =  D

 

A Hill in Korea (1956)

               “A Hill in Korea” (“Hell in Korea” in American theaters) is the first British film set in the Korean War. It was based on the novel by Max Catto (“Murphey's War”). He was inspired by a true incident in the war. The movie has a cast of recognizable British thespians, including Michael Caine in his first credited film role (eight years before “Zulu”, his third film). Caine was a veteran of the Korean War and saw Chinese hordes up close and personal. He was a conscript or as they were called in Great Britain, a “National Serviceman”. Most of the characters in the unit are these soldiers famously known for being old enough to fight, but not to vote. He remembered his performance in the film with self-deprecating humor. He said he had only eight lines and screwed up six of them. Being the only Korean War veteran in the cast, he tried to be an unofficial technical adviser, with no success. He pointed out that a patrol would have been more spread out, but was informed the camera could not cover a wide formation. His suggestion that officers would not have worn insignia that identified them as targets was ignored for obvious reasons. He did not bother to point out that Portugal looked nothing like Korea because he wanted to go on location there.

               The movie is set in May, 1951 during the period when the United Nations forces are dealing with Chinese offensives. A British patrol of 17 men is trying to avoid being cut off by Chinese forces. It is obvious from the start that the movie will fit squarely in the “who will survive?” subgenre. The whittling begins immediately with one of the men dying from a booby trap. Other deaths will be from a grenade, a minor scratch, falling rubble, sniper, friendly bombs, and a suicide attack. Sadly, one of the first deaths is Robert Shaw as Lance Cpl. Hodge. Green Lt. Butler (George Baker) leads the unit with help from Sgt. Payne (Harry Andrews).  The patrol is going to have to fight its way just to get to its Alamo which is a temple on a hill. There are plenty of “gooks” or “chinks” to slaughter.

               “A Hill in Korea” benefits from a good cast without a lot of stereotypes. You do get the unseasoned leader who grows into the job with the help of his sergeant, but there is little dysfunction over his leadership. One of the men is a coward who gets redemption. Stanley Baker plays his usual hard-ass. The deaths are not predictable and there is a variety, although some are unrealistic. One stands out. They get bombed by American planes! You don’t expect friendly fire in a movie like this.

               The action is as close to combat porn as you could expect from a 1956 British war movie. And this was eight years before “Zulu”. The Chinese are depicted as savages similar to the Zulus or Indians in old westerns. Only worse, they are commies! Watching this film gives you a clear idea of how China was viewed in the 1950s. Michael Caine did not try to correct that facet of the film. In a biography, he mentioned that he was sympathetic toward communism until he fought in Korea where he encountered the brainless attacks by indoctrinated Chinese. He must have agreed with quotes like “They seem to want to die.” Or:  “Chinks don’t know the joys of living so they fight like it’s a joy to die.” However, it is a fact that the Chinese did use frontal attacks that led to heavy casualties. The movie is one of the more realistic Korean War movies in its depiction of combat. The Chinese use bugles and whistles to signal attacks. The Brits respond with Bren machine guns and they do reload. They put out aircraft recognition panels, although that doesn’t work in one occasion. They use covering fire to get a bazooka close enough to take out a tank.

               “A Hill in Korea” is one of the better Korean War b-movies. It is noteworthy as one of the few British movies set in the war. Americans should watch it as a reminder that the Brits did help us in the war, including young British who were drafted to help us save South Korea. You might want to note that they did not do the same thing in Vietnam. Because of this movie?

GRADE  =  B

INCHON (1981)

 

                       “Inchon” is generally considered the biggest box office bomb of all time and also considered to be the worst war movie ever made. It won Golden Raspberries for Worst Picture, Actor (Laurence Olivier), Director, and Screenplay. It has a 0% on Rotten Tomatoes which makes it the only major war movie to achieve that low score. It has a 2.9 on IMDB.  It was famously financed by Sun Myung Moon, founder of the Unification Church. He’s the guy who would marry thousands at a time. He thought about doing a movie about Elvis or Jesus, but psychic Jeanne Dixon talked with the deceased Douglas MacArthur and he urged a biopic be made about him. Moon liked the idea because MacArthur “loved God and loved people.” He fought against tyranny and communism. Moon demanded three love stories. One with two Americans, one with two Koreans, and one with an American and a Korean. The movie cost $46 million (the original budget was $18 million), which was a huge sum back then. It made less than $2 million.(This would be equivalent to costing $150 million and making $17 million today.) At the time, it was the biggest money-loser in history. It was directed by Terence Young, who made the first four James Bond movies. He also directed some war movies: “The Red Beret” and “Triple Cross”. He filmed in South Korea, California, Italy, Ireland, and Japan. The shoot was difficult with a typhoon destroying the lighthouse that is central to the invasion of Inchon. David Janssen died during the shooting and expensive reshoots had to be done.  Some of the reshoots were done by Sun Myung Moon himself with disastrous results. He was credited as a “special adviser”. Star Laurence Olivier was 72-years-old and he was not in the best of health. Makeup took 2 ½ hours. Olivier deserves credit for watching many recordings of MacArthur to get his accent down pat. Embarrassingly, the movie includes part of MacArthur’s “Old Soldiers” speech in which he sounds very different from Olivier’s attempt. He was candid about why he took the role. He did it to get money for his heirs. He was paid $1 million which came to $50,000 per day. When the shoot overran, he demanded his bonus salary be delivered to the set in a suitcase by a helicopter. I hope his heirs appreciated it because it was a very difficult shoot for him as he suffered from heat stroke and exhaustion. He had to rest between takes. The US Department of Defense provided 1,500 soldiers and Marines as extras. It allowed filming on a US Navy ship. However, the DoD demanded that its cooperation be removed from the credits when it saw the inaccuracy of the movie.

                       The movie starts with a disclaimer: “This is not a documentary. The screenwriters have used historical license.”  Thanks for the honesty and why don’t more war movies do this? A narrator describes the situation in Korea after WWII. (To prove the screenwriter were truthful about disregarding historical facts, WWII is called “the war to end all wars.”) A map is overlaid with combat footage. The background is good and it emphasizes Soviet military support for North Korea. Then we are immediately in a battle with lots of tanks and hordes of commie infantry. Barbara Hallsworth (Jacqueline Bisset) is the wife of a major (Ben Gazzara). She gets caught up in the stream of refugees fleeing invading North Koreans. Along the way, she picks up some orphans who are sooo cute. Frank Hallsworth’s affair with a South Korean is interrupted by the crisis. He heads north to find his wife. He is accompanied by Sergeant Augustus Henderson (Richard Roundtree). Meanwhile, Gen. MacArthur learns of the invasion and realizes he is the only one that can save South Korea. In one scene, he stands next to a bust of Julius Caesar. Subtle. In this small world, David Feld (David Janssen) is a cynical journalist (like he was in “The Green Berets”). (Has there ever been an uncynical journalist in an American war movie?) These characters have a destiny destination called Inchon. That date with history will be the capture of a lighthouse that is crucial to the success of the landing. And a great opportunity to reunite Hallsworth with his Korean girlfriend and her father! It’s hairy, but God is with MacArthur and America. We win and this time they do the running. The End. Don’t worry about the next two years.

                       Let me lead my critique by stating that “Inchon” is not the worst war movie I have ever seen. That does not mean it’s a good movie. It has numerous weaknesses. The plot is choppy with some scenes leading nowhere. The movie jumps several months to get to the invasion and yet, the main characters are still in the same places. There are several cliches. Hallsworth is torn between loyalty to his wife and love of his girlfriend. As usual, the love triangle is solved by killing off one them.  The characters are all stock. The Feld character is only mildly critical of MacArthur and is given little to do. Janssen did not go out in a blaze of glory. The action scenes are poorly done combat porn. Lots of tanks and lots of explosions. This is a loud movie. And several massacres and strafings of civilians because commies are bad. As per war movie rules, no one is just wounded. The deaths are from the somersault school of overdying. Jerry Goldsmith did the soundtrack. The music is pompous, although commended by some and it was released as an album.

                       It is clear the movie was just a money grab for all the stars. Their performances are wooden, especially Olivier who is creepy as MacArthur. (He was 74 at the time of the shooting. MacArthur was 71.) Gregory Peck was much better in “MacArthur”. Richard Roundtree was thrown in just to have an African-American character.

                       The movie is not the propaganda you would expect. The communists are not demonized. There is a villainous North Korean officer, but he is just thrown in because that box needed to be checked. There is not a lot of anti-communism talk. The movie is more pro-Christian tban anti-communism. MacArthur prays and at one point proclaims “God wills it!” Just like Pope Urban II before the Crusades. The moments where religion rises up are ridiculous.

                       I’m not going to go into detail on the historical inaccuracies. After all, the movie admits it’s not accurate. The movie floats along with some minor flubs and it does give a trite feel for the chaos at the beginning of the war. The role of Russian tanks is a theme that is fairly realistic. And it does have a good scene where MacArthur makes his case for the risky Inchon invasion. But the movie limps towards one of the most ludicrous finales in war movie history. I have no idea who thought up the lighthouse idea, but he deserves a special Razzie Award. Spoiler alert: Hallsworth and Henderson go on a commando raid to take the lighthouse. That light is crucial to the success of the invasion. They do this easily with the help of Hallsworth’s Korean girlfriend. A problem arises when it is discovered that there are mines in the harbor. The girlfriend’s father gets in a boat, connects the mines by a wire and then sets them off! Hilarious. Then there is a hip-shooting firefight as the North Koreans try to take back the lighthouse. The light goes out. MacArthur has to call off the invasion. He gives a long speech taking responsibility for the failure. The speech is long enough for God to intervene and turn the light back on. God blessed MacArthur! We get an impressive number of landing craft and amphtracs, and they aren’t cardboard cutouts. Here come our tanks! Tables turned. Look at them run this time. The movie ends before MacArthur tarnishes his reputation with his boneheaded handling of the Chinese intervention. I guess we’ll never get that sequel.

                       In conclusion, “Inchon” is far from being the worst war movie ever made. It is not laugh out loud funny as the dialogue is not atrocious and the stars do not overact. Other than the lighthouse, it is not atrociously inaccurate. It is not in “Braveheart” territory. It was hard to find, but you can now watch it on YouTube. I won’t warn you against doing that. However, I will warn you that you won’t get those 137 minutes back.

GRADE  =  D

All the Young Men (1960)

                The Korean War is sometimes called the “Forgotten War” and that refers to the fact that Americans wanted to forget about it. American’s did not want to be reminded about a war that ended in a draw and was very frustrating. It was a far cry from the “Good War” – WWII. Korean War films, with a few exceptions, never caught on with the public. The ones made during the war mostly resembled WWII movies. The first one, “The Steel Helmet”, was a good film, but it was low budget and resembled a Western as much as a war movie. “Retreat, Hell!” (1952) did something you rarely saw in WWII movies – it depicted Americans retreating. “The Bridges at Toko-Ri” emphasized the futility of the war. But both movies, while bleak, still showed American soldiers fighting bravely. “All the Young Men” was made seven years after the war and had to tread new ground to make an impact. Director and writer Hall Bartlett (his “Zero Hour” was parodied in “Airplane!”) wanted to make a film with a message. A disciple of Stanley Kramer (“Judgment at Nuremberg”), he decided to tackle racism, specifically reactions to integration. Clearly, Bartlett was inspired by Kramer’s “The Defiant Ones”.  In 1949, President Truman had used an executive order to integrate the military. Despite howls from Southerners, the mixing of blacks and whites in units was a success. Starting with “The Steel Helmet”, Hollywood routinely put blacks into the films, but stayed away from the racial tensions that undoubtedly occurred. Bartlett’s film crossed that line.

                The film is set in North Korea in October, 1950. American forces are battling to take the port city of Wonsan. A platoon (actually, more like a squad since there are only 12 men)  is sent to hold a farmhouse in order to block an enemy movement through a strategic pass. The white Lt. is mortally wounded early and before he dies, he turns over command to Lt. Towler (Sidney Poitier). Towler is reluctant to accept because he, and EVERYONE else in the platoon feel that the veteran Lt. Kinkaid (Alan Ladd) should be the obvious choice. This is the first clue that the script is going to manipulate the situation to push its message. Kinkaid grumbles, but Towler is forceful in establishing himself in command and he backs down. For plot purposes (a phrase I could use at the beginning of every sentence in this review), Kinkaid does not want to hold the farmhouse, although that is clearly their orders and the battalion is counting on them.  The real problem will come from a stereotypical Southern bigot named Bracken (Paul Richards). There is no universe where this character does not appear in a movie like this. Bracken not only rocks the boat at every opportunity, but he proves to be a vile human, even without the racism. He is beyond redemption. The rest of the unit is heterogeneous. There is the class clown (comedian Mort Sahl), the singer (James Darren), the Indian, the medic, and the hunk (boxer Ingemar Johansson). Do not expect all of them to survive. Especially the guy who pulls out a picture of his wife. 

                Once the unit reaches the farmhouse, which has a woman in it, the movie becomes a hold the fort scenario. The North Koreans are the Indians. Moments of lame banter and singing by Darren are mixed with combat full of fireworks. Actually, the format is talk – dysfunction – fight, repeat. The action is decent with plenty of grenades and pyrotechnics. There are some surprisingly not fake looking tanks. Kinkaid and Towler make a good pair, so add buddy film (specifically “The Defiant Ones”) to the influences. Guess who gives Kinkaid a blood transfusion. (It’s a shame Dr. Charles Drew did not live to the see the film.) Will the cavalry arrive in time? Stick around to see if Bartlett eschews that cliché.

                It is hard to be harsh on a movie whose heart is in the right place. It is a strange movie because while it is full of cliches and stereotypes, the central premise was ground-breaking. It’s a shame it was marred by some ridiculous moments. I have made it clear that one of the few false notes in “Hell Is For Heroes” (1962) is the comedy routine by Bob Newhart. Mort Sahl has a similar scene. It is cringe. And then we also get Bobby Darren doing the teen idol sings a song routine. Where the hell did he get a guitar from?  On the other hand, Sidney Poitier. The movie doesn’t get made without him. Credit should also go to Ladd, who was apparently the only star that was willing to play the role.

                “All the Young Men” is slightly above average for a Korean War film. It benefits from being an important film.  You can’t say that about more than a few Korean War movies. It acts as a window into how the armed forces were on the cutting edge of civil rights in the early 50s. If you find it quaint, I suppose that is a good thing.

GRADE  =  C

THE 100 BEST WAR MOVIES #47. The Front Line (2011)

 

Let me state from the start, I love South Korean war movies.  They are always entertaining.  Turn off your filters, sit back, shake your head, and enjoy.  These directors know how to film balls to the wall action that makes “Saving Private Ryan” look like a documentary.  Remarkably, I have yet to see one that does not treat the Korean War as a mess.  There is no patriotism in these films and a lot of sympathy for the enemy.  Compare this to Hollywood’s take on the war and remember that South Korea has a much better reason to pump up the patriotism and demonization of the enemy.  The  recent appearance of these types of movies starting with “Joint Security Area” (2000) clearly shows how far the country has come down the path of democracy.  It was not that long ago that the director of a movie like this would have been thrown in prison.  I read the other day that you could argue that in terms of positive results the Korean War was our most successful war.  That may be a stretch, but when you see where South Korea is today (and specifically Korean cinema as an example of this), you can see where this theory comes from. It won Grand Bells (equivalent to the Academy Awards) for Best Lighting, Best Cinematography, and  Best Film. It was nominated for Cinematography, Director, Supporting Actor (Ryu Seung-Ryong), New Actor (Lee Je-Hoon), Screenplay, Editing, Costume Design, Visual Effects, and Sound Effects.

            “The Frontline” is set on the eastern front is the last month of the war.  The Alligator Company (named after the fact that baby alligators have a low survival rate) is tasked with capturing Aerok (look at it in a mirror) Hill before the Armistice locks in the border.  The hill has changed hands 30 times in 18 months.  The hill is an amazing set.  The company is low in morale and has recently had a change in command via fragging.  The interim commander is a morphine addict.  Kang (Shin Ha-kyun) arrives from the C.I.C. (Counterintelligence Corps) to investigate the murder and suspicions of collaboration in the unit. (The C.I.C. was created to ferret out communists in the ranks.)  He is shocked to be reunited with his best friend Kim (Go Soo).  Kim had been taken captive early in the war and was presumed hors de combat.  Kim is now a cynical anti-hero.

            When the latest order to take the hill comes the unit reluctantly saddles up, shrugs, and sallies forth.  The result is SPRish with hand-held, quick cuts, close-ups pulling back, and even a tracking shot.  If you’ve seen Tae Guk Gi, you know the Korean style.  Kang takes part in the attack.  Did I mention Korean directors are not big on reality?  Being in the thick of it allows Kang to discover that there is a bunker in no man’s land that acts as fraternization central.  Whenever it changes hands, the dispossessed side has left “gifts”.  The South leaves America cigarettes and chocolate and the North leaves rice wine.  More significantly, the communists leave letters for relatives in the South. The movie taps into the dislocation of relatives when the 38^th Parallel was used to separate the north from the south.  There is a really cool montage of a few more assaults as seen by a stationary camera to push the time frame ahead.  A key subplot involves a North Korean sniper called “Two Seconds”.  A “Full Metal Jacket” type of “I dare you to rescue him” scene is followed by a FMJesque revelation. Another subplot involves the raw nerves of the platoon. Kang traces this back to an incident at Pohang early in the war.  Flashback time.  An amphibious assault goes terribly wound. All the survivors have PTSD. Just when you think things could not get worse, here come the Chicoms. And both sides really want that hill, especially since the armistice is coming and each side wants as much territory as possible.  They even fight over a hill that is devastated.

            It turns out there are 12 hours of war left.  Who really wants that moonscape of a hill?  The generals.  This actually accurately reflects the battle for the hills (ex. Pork Chop Hill) that closed the Korean War.  Who wants to stage a grand set piece to close his movie?  Jang Hoon.  Leave the kitchen sink in the trailer, but bring everything else.  Air bombardment by fighters that drop bombs they don’t have (learned from American war films).  Slo-mo.  Elegaic music.  Hand-to hand.  A stabbing death that reminds of Mellish’s from SPR.  Graphic wounds.  Intense violence. 

ACTING:                    A

ACTION:                     A  (10/10)

ACCURACY:                N/A

PLOT:                            A

REALISM:                      C

CINEMATOGRAPHY:   A

SCORE:                         C

SCENE:  the last assault

QUOTE:   North Korean officer:  Did you expect to survive this war?

            “The Frontline” was a huge hit in South Korea.  Apparently South Koreans do not like their war movies coated with sugar.  (They don’t mind a whiff of bull shit, however.)  The movie was critically acclaimed and a big hit at the box office. It is undoubtedly entertaining in a macho male demographic way.  I don’t think females will be as enamored, but there is a significant female character which is something to commend it for.  Hint:  think “Enemy at the Gates”.

            The movie is very well acted.  The leads are good and typically sincere for Koreans.  There are some interesting plot devices like the bunker in no man’s land.  The themes of brotherhood, rivalry, and sympathy for the enemy (although a bit heavy-handed) are nicely laid out. There are a few poignant deaths.  The film is more anti-war than most war movies. The Korean War was hell, especially in the last year when both sides were in a throw-back to WWI.  These themes have been explored before in Korean movies, so there is nothing new here.  Also not breaking new ground is the “it’s a small world” nature of many of the character arcs.  And the ending is on the trite side.

            I have seen all the major Korean war movies and I believe this is the best one. The use of the fraternization bunker, the friendly fire incident, and the female sniper make it stand out from the other war movies.When you add those subplots to the assaults on the hill, you get a well-rounded film.