A Walk in the Sun Page #4

Synopsis: In the 1943 invasion of Italy, one American platoon lands, digs in, then makes its way inland to blow up a bridge next to a fortified farmhouse, as tension and casualties mount. Unusually realistic picture of war as long quiet stretches of talk, punctuated by sharp, random bursts of violent action whose relevance to the big picture is often unknown to the soldiers.
Genre: Drama, War
Director(s): Lewis Milestone
  Nominated for 1 BAFTA Film Award. Another 2 wins.
 
IMDB:
7.3
APPROVED
Year:
1945
117 min
290 Views


I wouldn't do that.

No. I wouldn't, either.

They're out of range, now.

Probably gone after bigger game.

Suppose I took the glasses

and went over the ridge? Maybe

there's a new landing coming off.

We'd want to know if there was.

It stands to reason.

Go and take a look, Mac.

Go and take a look.

It's just for the record.

Get it off your mind.

I think it's a good idea.

- Don't hang around, though.

Those bombers may be back.

Here, take a good look.

What is it? What is it?

What do you mean?

Come back, McWilliams!

In a minute, Sarge!

Hurry Mac! Hurry!

Come back!

The leg. The right leg.

It's Trasker.

In the middle of a word.

He was just speaking when

it got him right in the mouth.

In the middle of a word.

Gee, I'm scared.

# This is the story of

one little job

# One day from dawn until noon

# Just one battle more

in a long, long war

# And the men of a single platoon

# It was 53 men started out that day

# Along the Italian shore

# And some of those

were mighty good joes

# Who'll never see the sun rise

any more, poor boys

# They'll never see

the sun rise any more. #

Don't you want to live here?

- I didn't say I wanted to live here.

It's a nice country, full of

opportunity. Just look around you.

Opportunity, that's the big thing.

This country is full of opportunity.

- You can have it.

Is that a way to talk about

a country where you're a guest?

They'll kick you out.

- No, they won't.

Do you know who you're fighting?

They never told me.

Germans.

- That's all I want to know.

You're screwy.

- That's life.

We were the same draft board.

Same day.

Forget it.

He was a good guy.

- OK.

Tibet!

OK.

Go away. A butt.

Arch is taking it hard.

- Nobody dies.

Saturday Evening Post has

the best covers. That guy,

what's his name?

Norman Rockwell. He can

draw covers to beat all.

He had some covers about the army.

I'll take a camera picture any day.

Drawing's OK but it ain't real.

I like things to be real.

This guy Rockwell made it look

just like a picture.

I used to look at them. Looks just

like a picture, I used to say. You'd

never have known it was painted.

Should have taken a picture

and saved time.

You can't get the touch in a picture.

- Drawings was all right

when we didn't have cameras.

Now they've got cameras,

you don't have to draw.

That's screwy.

- Why?

You might as well say now they

got moving pictures, there's

no sense in taking pictures.

You might just as well have a

movie on the cover of magazines.

- Some day they'll have it. Maybe.

No, they won't.

Maybe, some day, they'll have

movies that'll smell, though.

Maybe the scene will be

in a garden, or something

and you can smell the flowers.

I'd like to see one in a brewery

so you could smell the beer.

If a guy asked me, "What'd you

give for this beer?",

I'd give him my G.I. rifle, my G.I. bayonet

and even my G.I. pants.

It's Tyne.

Hey, Sarge, it's Tyne.

Well, come on. Come on,

for Pete's sake, what happened?

Halverson's dead.

McWilliams is dead, too.

Plane got him.

The lieutenant died.

That does it. Trasker's dead here.

Hoskins and Giorgio got wounded.

- I got the lieutenant's map case.

Did you get it from Halverson?

- The barge. I had it all the time.

I was going to give it to you.

- What's in it?

- I don't know. Look and see.

There's the sea coast.

There's the beach.

Here's the wood where we are.

There's the road.

About 100 yards to the south.

Halverson was a little off.

- Where's the farmhouse?

- Here. This must be it. The only house.

See, where's the scale?

- There it is.

It's about six miles, all right.

It's nearer to seven.

- What's that?

Rocks. High ground.

Marked for a machine gun.

Farm building's marked for

a machine gun, too.

- That's me. I like to work indoors.

Bring it over here. Let me see it.

Spread out!

Giving you trouble?

Well...

That bridge.

- What about it?

You have to blow it.

- Yeah.

Blow it. Gerry will bring

stuff over that bridge.

Pain getting bad?

Heinie buzzards!

- Do you want somebody

to help you down to the beach?

Not me. They'll be

strafing that place for weeks.

Going to stay right here.

What about Giorgio?

- What about Giorgio?

Look, man, you're in command.

Don't ask so many dopey questions.

Leave me alone.

Cousins, go and ask

Giorgio if he can get back

to the beach by himself.

Light stuff coming from inland.

Battle's beginning.

Better get moving. Get your squads

together. Get them on the road.

Giogio says you can have the beach.

He wants to go along.

- He can't.

There'll be a hospital here

soon. Tell him to stay here.

Tell him yourself.

You're wearing the stripes.

Squad three. Fall in. On the road.

Second squad, fall in.

You'd better go down to the beach, Giorgio.

- Wait, Sarge. I'm wounded.

I've got privileges. I don't

want to go down to the beach.

I want to go along.

- You can't go along.

You won't do any good.

You can't do anything.

Now, go on down to the beach.

- I'll stay here with the Sarge.

Suit yourself.

Let's go. We've got to move.

Where are the binoculars, Bill?

Holy mackerel. I forgot them.

McWilliams has them.

The only pair we had.

Not doing him any good.

I'll go back and get them.

- Oh, never mind.

Sunny Italy.

Another little hike.

You should have to carry this.

I am happy with you, dear.

You make me very happy.

Now, listen, men.

When we hit the road,

we'll go in three squads.

We'll bust Hoskins' squad up.

Kramer, you take the first squad.

Archimbeau, Cousins, scouts.

Rankin, connecting file.

Ward, you take the second squad.

Tyne, you take the third.

You bring up the rear. Get it?

Now, for Pete's sake,

keep your eyes open.

Anything may be coming down

that road. If they bring...

If they bring up tanks, they'll

probably bring them along the road.

Be ready to fan out at any time

and keep the bazookas ready.

When I blow my whistle,

head for cover.

And I mean cover.

Keep your eyes open for planes.

They may try to shell the road, too.

I don't think they're wide awake

yet, but they're going to be.

It's a stinking situation, right?

- Right!

- OK. Let's go.

Mail this for me, will, you, Sarge?

It's a letter to my wife.

Yeah.

Sure.

- Thanks, Sarge.

How is it, Hosk?

- It'll keep.

Got it on ice.

- Take it easy.

Tyne, you're a smart apple.

Keep your head.

- I'm the boy.

I mean it.

Keep your head, you may need it.

- Always have.

I ran into an Australian in Tunis.

They slugged one into his leg

at Mareth.

He's always going

to walk with a limp.

That's a tough ticket.

Ruins you with the Army.

- You'll be all right, Hosk.

You're a smart apple.

Keep your head.

- Better hang on to this. You may

need more than you have.

Thanks.

Keep your eye on Porter.

I think he's going to crack.

What makes you think that?

- I've seen 'em crack.

He screams just like anyone else.

Once in a while, a guy steps

past the scream. It's hard to tell.

He's a good man but I think

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Robert Rossen

Robert Rossen (March 16, 1908 – February 18, 1966) was an American screenwriter, film director, and producer whose film career spanned almost three decades. His 1949 film All the King's Men won Oscars for Best Picture, Best Actor and Best Supporting Actress, while Rossen was nominated for an Oscar as Best Director. He won the Golden Globe for Best Director and the film won the Golden Globe Award for Best Picture. In 1961 he directed The Hustler, which was nominated for nine Oscars and won two. After directing and writing for the stage in New York, Rossen moved to Hollywood in 1937. There he worked as a screenwriter for Warner Bros. until 1941, and then interrupted his career to serve until 1944 as the chairman of the Hollywood Writers Mobilization, a body to organize writers for the effort in World War II. In 1945 he joined a picket line against Warner Bros. After making one film for Hal Wallis's newly formed production company, Rossen made one for Columbia Pictures, another for Wallis and most of his later films for his own companies, usually in collaboration with Columbia. Rossen was a member of the American Communist Party from 1937 to about 1947, and believed the Party was "dedicated to social causes of the sort that we as poor Jews from New York were interested in."He ended all relations with the Party in 1949. Rossen was twice called before the House Un-American Activities Committee (HUAC), in 1951 and in 1953. He exercised his Fifth Amendment rights at his first appearance, refusing to state whether he had ever been a Communist. As a result, he found himself blacklisted by Hollywood studios as well as unable to renew his passport. At his second appearance he named 57 people as current or former Communists and his blacklisting ended. In order to repair finances he produced his next film, Mambo, in Italy in 1954. While The Hustler in 1961 was a great success, conflicts on the set of Lilith so disillusioned him that it was his last film. more…

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Submitted on August 05, 2018

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