the bridge at remagen

Part of a wave of WW2 epics released in the late '60s and early '70s that wound up as perfect Sunday afternoon "Dad-movies" for at least a decade longer, The Bridge at Remagen (1969) rarely gets mentioned in the same breath as better known titles like The Longest Day or The Dirty Dozen. But director John Guillermin's film certainly delivers the requisite amount of action and destruction - at one point leveling an entire town without the aid of models or computer effects - and even pushes an early anti-war message that must have tied in well with the current state of affairs in Vietnam.

Producer David L. Wolper, who would change the face of television with mini-series events like Roots and The Thorn Birds, pulls together a competent cast who, though they may lack marquee appeal, serve the story well. George Segal leads the charge as Lt. Phil Hartman, a jaded survivor who knows the war is winding down and resents any order that puts his men in jeopardy. Unfortunately, that's exactly what happens as Major Barnes (Bradford Dillman), anxious to impress his superiors, volunteers Hartman's outfit to chase down the retreating German army in an attempt to capture the enemy bridge at Remagen before the Nazis blow it up in self-defense.

Meanwhile, on the other side of the river, Major Paul Kreuger (Robert Vaughn) attempts to delay the demolition as long as possible so his German troops aren't penned in by Allied forces. His compassion, however, is at odds with the high command who strictly follow Hitler's orders the "no enemy boot should set foot upon German soil." This sets the stage for a climactic battle in which there really are no winners or losers...only survivors.

The Bridge at Remagen takes a very modern approach to the horrors of war. Hartman and Kreuger are simply good men on opposite sides of the field, each saddled with orders that go against their ethics as soldiers and human beings. The screenplay makes it very clear that the real enemy is the chain of command that can decide the fate of thousands from safety of an air-conditioned bunker. While that's a rather uncomfortable fit for the unbridled patriotism of WW2, it's makes a timely and compelling argument for the era the film was produced.

But Guillermin is wise enough to mix subtext with spectacle, kicking things off with an incredible tank battle set on a narrow mountain highway. There's no stock footage on display here; this is a veritable smorgasbord of well-choreographed action, particularly the aforementioned destruction of a European town that tops just about any war movie outside of Apocalypse Now for sheer grandiosity. But there's a cost to each victory, and The Bridge at Remagen makes it clear much of it was a senseless waste of lives and resources. Perhaps that explains the film's status as a cinematic footnote in the last war to win the vote of popular opinion.

Twilight Time's 3000-copy limited edition is another beautiful high-def edition to their catalog. Special features include an isolated score track (from Elmer Bernstein), original theatrical trailer and liner notes from Julie Kirgo.