British Airborne troops flash the V-for-Victory sign and give thumbs up on the way to their drop zone near Arnhem.
Once upon a time, all-star films were all the rage. I was trying to figure out when it started and I’m sure you know better than I. Was it The Story of Mankind? That pre-dates Around the World in 80 Days, right? Then the all-star game found war pictures and The Longest Day was born, which I consider the go-to look at D-Day even though it was G-rated and the real thing was For Adults Only. No, really, the real thing wasn’t for anyone, it was so brutal. I’m always struck by the opening moments of Saving Private Ryan, a picture I despised otherwise, when the gate of the landing craft went down in the surf near the beach, and we saw a glimpse of what the guys really went through.
Darryl Zanuck had the vision for The Longest Day, and it worked in spite of its lumbering, all-star self. Next came The Great Escape, probably the most successful of the all-star service pictures. Then Zanuck tried it again with Tora, Tora, Tora! about Pearl Harbor, and his all-star cast wasn’t quite so stellar for budgetary reasons, but the picture still succeeded, I think because the stars weren’t so big they demanded their own vignettes. It became an ensemble of very good but not overwhelming players—exactly the feel achieved in The Great Escape.
One-sheet movie poster for A Bridge too Far, released in 1977.
Midway was a last gasp at the traditional, all-star war picture told with old-time apple-pie sensibilities, even though we then lived in the post-MASH, post-Catch-22 world of revisionism, a world that had already seen The Dirty Dozen and Kelly’s Heroes, which overlaid modern sensibilities on World War II. I saw Midway in a big theater on first release in 1976 and thought it was OK at best. A veteran of the war in the South Pacific who also saw it was laughing afterward at the mismatched stock footage and wrongly placed vintage aircraft depicted; by this time the pickings of available fighter-bombers was already pretty slim. Really, Midway had the ambition but not the budget and needed the gimmick of the day, sub-woofer Sensurround, to try to put derrieres into seats.
In the wake of Midway, there was one great World War II historical novel by Cornelius Ryan hanging out there that hadn’t been brought to the screen, A Bridge Too Far, about a well-meaning, wrong-headed plan called Operation Market Garden that sought to bring World War II to a rapid close in September 1944. Producer Joseph E. Levine envisioned A Bridge Too Far as an all-star service picture with a script by William Goldman that made no bones about bludgeoning the audience with Monday morning quarterbacking and an “Isn’t this ironic?” attitude.
I’m not going to critique the resulting picture. Either you like it or you don’t. What I will say is it’s quite a setup for actually visiting Arnhem, where the action took place, and the history is heavy there in those streets where British paratroopers went up against a ferocious last-stand German defense. In a nutshell, a large force of British paratroopers were dropped near the Dutch city of Arnhem behind German lines to capture a key bridge over the Rhine as part of a larger plan involving a sudden Allied push north through Holland to cut the German front in two. We drop you up here, we slice north from down here, we meet up in Arnhem, war over. Simple. Dismissed, see you at the surrender ceremony.
Artwork in the British Airborne Museum in Arnhem shows the battle for the bridge, with Tommies who were unequipped to fight tanks holding off advancing German armor.
Roughly the same view in November 2015 at sunset.
The plan was complicated by only one wee little factor: German forces fleeing the Allied advance through France after D-Day were ordered to regroup at none other than Arnhem. I mean, at just about the time the paratroopers were climbing aboard their aircraft in England, the Germans just happened to be stopping in Arnhem. Many didn’t even have weapons—they had turned them in because they were about to board trains back to Berlin for refitting. They were just there, weary and shell-shocked after the Allied invasion, thinking they were about to see home. Then here come these poor British paratroopers dropping all around, guys who thought they would be fighting a few Nazi-sympathizer Dutch home guard troops. Instead, a couple divisions of SS Panzers and what was left of the real German army got the surprise of their lives as British paratroopers floated to earth, and then the Germans regrouped, outnumbered the Tommies, and took care of business. The dreamed-of liberation of Arnhem’s besieged population became a bloodbath for British soldiers, first at the Arnhem Bridge and then in the city center where the paratroopers retreated.
The overwhelming sight of graves for all the British and Polish paratroopers who died in the Battle of Arnhem.
Two weeks ago I was in Arnhem to get a feel for the Dutch people—to get their vibe for the portions of Mission that take place in Holland. They drive on the right side of the road in Holland, thank God, so tooling around the countryside was a lot of fun, but did you know they don’t have windmills anymore? Only one traditional windmill, ONE, was seen in hundreds of miles of Holland. All they’ve got these days are wind turbines, giant, cold, silent wind turbines like you can find anywhere. I had to wonder what Don Quixote would think of this unfortunate turn of events.
So anyway, back to the Richard Attenborough-directed picture, A Bridge Too Far. All right, I will critique it. It’s awfully cold overall, and too many characters are unlikable. Worst of all, we don’t get a sense at all of the ultimate irony that the Germans just happened to be regrouping here of all places, which makes the parachute drop so heartbreaking for these brave, well-meaning Tommies who expected to win the war in a week and ended up in a Custer’s Last Stand scenario in downtown Arnhem.
No, I take that back. The worst thing about A Bridge Too Far is Ryan O’Neal, who at 36 was seen to be way too young to portray a WWII general, even though as discussed here previously the fighting men in WWII were very young and he was just right on that score. The problem was he just couldn’t act. If you watch the picture you have to wonder what the real actors around him were thinking as he so cluelessly recited his lines.
No, I take that back. The worst thing about A Bridge Too Far is Gene Hackman’s Polish accent. He seemed to know he couldn’t get it right, but he soldiered on anyway. That’s bravery, in the actor sense of bravery, which isn’t quite the paratrooper sense of it.
No! The worst thing about A Bridge Too Far is the Americans. Yes, that’s it, the Americans. Because it was an all-star picture and U.S. box office meant everything, the American stars had to have big parts. A-number-1 big star of the day, Robert Redford, got a 15-minute vignette as an Airborne major ordered to get his men across a river in poor-quality rowboats; B-number-2 star of the day, James Caan, got 10 solid minutes as a sergeant trying to save an officer’s life; C-number-3 star of the day, Elliott Gould, negotiated for 15 minutes of screen time to build a pontoon bridge. None of it mattered to the plot and I just skip those sequences when I watch A Bridge Too Far on DVD because it’s a British story—just let it be a British story.
Anthony Hopkins as Maj. John Frost, leading his confident men into battle after a successful parachute drop near Arnhem.
Then there’s the best thing about A Bridge Too Far, Anthony Hopkins as Maj. John Frost trying to take and hold Arnhem Bridge, and then continuing the fight until his ammo and food ran out. He earned his way onto my Mt. Rushmore of great screen characterizations of all time with his take on the quintessential, stiff-upper-lip British officer in a hopeless situation. In this picture, Anthony Hopkins is simply, how can I say this … perfect. It’s worth it for anyone to slog through A Bridge Too Far to get to the Hopkins moments because they are magical. He is all those British boys rolled into one. He is every corpuscle of every man who fought and died on those streets in 1944.
Walking across the now-called John Frostbrug (John Frost Bridge) in Arnhem was a chilling experience knowing what happened there. Visiting the Airborne Cemetery had me in tears the instant I saw all those smart formations of headstones, each representing a brave Tommy who paid the ultimate price. I wasn’t prepared for the emotion of that moment, especially with plaques at the gates of the cemetery in multiple languages that included photos of the Airborne guys in the planes on the way over flashing V-for-victory signs, all smiles as they flew with their high hopes and noble intentions across the English Channel only to die in a hail of machine gun fire on the streets of Arnhem, a city that had been spared the nastiness of war until those brutal, unexpected days of September 1944 when British Airborne met the SS and their Panzers.
Two British paratroopers holed up in a house in downtown Arnhem fought to the last and recorded their kills by date in September 1944 on the wallpaper. Their strident message reflects the thoughts of my friend Clem, contributor to “Mission,” who flew with Jimmy Stewart and was shot down over Holland. “There’s no glory in war,” said Clem. “War is crazy.”
Morning dew kisses three cut roses placed on a monument honoring the Allied war dead. The Dutch people fell in love with their would-be liberators the British Airborne, and that love is undiminished 71 years later.