A Walk in the Sun Page #8

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
273 Views


- You...

Tanks.

- Yeah.

Our bazookas let

the armoured car go by

to get at the tanks. It'll be coming

back. We've got to get it.

Without the bazookas

we'll have a sweet job.

Might knock it off with grenades

if we're lucky. One under the belly might

knock it off the road or

at least shake up the driver.

How about machine guns?

- Throw everything we've got at her.

Eddie?

Leave him alone. Nothing you can do.

- No, guess you're right.

Set your squad as close as you can

get. Throw grenades on the whistle.

Just this side or they'll throw

grenades in each other's laps.

Rivera?

Got a butt, Sarge?

- How's your gun?

- OK.

Set up by the road. When the car

comes, we'll get it with grenades.

When the grenades go off, let the

car have everything you've got.

Rake it, compris?

- Yes. Sure.

Set it up in a hurry.

- Right.

I got a job. They hired me.

100 bucks a minute.

- It ain't enough.

Coming?

- I'm invited?

I got a silver-plated bullet with

the name Applegloss on it.

Yeah. That's me, all right.

- Then you're invited. I'll come.

Good, since you've got the ammo.

Line up your squad, Ward.

When the armoured car gets

abreast of that boulder, see.

Yeah.

I'll count ten, then blow

the whistle. OK.

- OK.

My squad, off and on.

- Don't let anyone else do anything.

Stay back and hang on.

Shoot the works. You get that?

Don't let anyone else do anything.

Just sit tight.

- Come on, Cord, you here.

Randall, get in there.

OK. When you get the whistle.

And so help me, the first guy that

throws before he gets the whistle

is going to get this grenade

right between his teeth.

You want to live, throw straight.

You won't get another chance.

Johnson, you understand?

What do you think I am, Sergeant?

An amateur?

No.

Windy? Watch Porter.

Don't let him move around.

You're crying, Porter.

You're crying

because you're wounded.

You don't have to be

bleeding to be wounded.

You've just had one battle to many.

Yeah. You're out of it now.

No more guesswork and

waiting and wondering for you.

You've built yourself a foxhole...

up there.

Ain't nothing in the world

that can make you come out of it.

Go ahead, Porter, keep crying.

We understand.

Not yet.

Ever go to Coney Island?

All the time. Some joint.

Ever shoot those electric guns

that shoot down the airplanes.

Sure. I'm a shock at the stuff.

Want to know a secret, Friedman?

- You ain't got any secrets.

You're an open book. You ain't

bright enough to have any secrets.

This is a secret, Jake.

- What is it?

I never could hit those airplanes.

I used to miss those airplanes

all the time.

Maybe I better go away.

Maybe you ain't safe to be with.

How did you get to be

a machine gunner?

I bribed a guy.

- I want a transfer.

Friedman, it's too late.

You're stuck with me.

How are you going to get that car.

I'm going to aim for the knees

and then I work north.

You think this stuff will go

through armour?

- Never has yet.

Easy. Easy.

Two, three, four, five, six,

seven, eight, nine.

Put some shots through the slits?

- I'll stop Rivera.

- OK.

Halt your fire.

Stay where you are. There's nothing

out here you haven't seen before.

OK.

Nice looking ruby.

Wonder where he stole that?

I don't know if they

heard all this noise up ahead

but whether they did or not,

we'd better blow out of here.

- Right.

Get that gun down, doughfoot.

- Right.

Some smoke screen. That car's

probably full of holes.

Like a cheese. Like a loving cheese.

- I bet you never put a hole in it.

I never miss.

- How about the airplanes at Coney Island?

- Those were airplanes on Coney Island.

OK, Rivera, you're a terror.

- I'm a killer.

I don't know what the platoon'd do

without me.

Win the loving war?

- That's right! Win the loving war.

Yeah?

- You take over my squad.

Why me?

- Why anybody else?

Fair enough.

- Oh, Johnson.

Yes, Sergeant.

- You stay here with the Sergeant.

Don't let him do anything. Just keep

him here, you understand?

Suppose he tries to go somewhere.

- Don't let him.

How?

- I don't care how.

Just don't let him.

Eddie?

Eddie, how do you feel?

OK, watch him, Johnson.

Listen, men. Getting that Jerry car

was just a lucky break.

We heard tanks up ahead and

still don't know what's happened.

Next time, we may not be so

lucky, so stay on the alert.

Arch, you and Cousins, go on ahead.

If you see anything, just shoot. OK.

You've got the direction, Arch?

- Can't miss.

All right. Let's go.

Our patrol ahead!

Our patrol.

We lost Phelps, Dubovski and Long.

But we knocked

out two tanks and an armoured car.

Took every bit of bazooka

ammo we had to do it.

Might as well get rid of these.

- Turn them over to Summers.

- OK.

I hope we don't meet any more tanks.

Without bazookas, I don't

want to meet any more tanks...

or armoured cars, either.

Where's Tinker?

He's all right. He's up ahead.

OK. Let's go.

Did you ever go camping

when you were a kid?

Every time we get in a bunch of

trees you ask me the same question.

When I'm in a bunch of trees,

I remember.

For the millionth time, I never

went camping - I lived in the city.

I lived in the city, too, Schmegegee.

I got on a train.

- You told me.

- Well, I'm telling you again.

You're a jukebox. Somebody

keeps putting nickels in.

I ain't talking to you, any more.

Hey, Judson?

- Yeah.

Do you ever go camping in the woods?

- What woods?

Get that, will you? Any woods.

- No.

You don't know what you're missing

You've never lived till you've

toasted a Mickey over the coals.

It ain't like the Army chow.

You can sit around a camp fire,

and shoot it all night.

You can go fishing.

Outdoor men.

- Next time they make

you a civilian, Judson,

try a camp in the woods.

Just tell them I sent you.

- Tell who?

- The birds and the bees.

Didn't your old man ever tell you

about the birds and the bees?

No.

- Did you hear that, Friedman?

Judson never heard of

the birds and bees.

- Terrible...

Shall we tell him?

- Maybe we'd better.

Give us a butt, Judson,

we'll tell you all about

the birds and the bees.

I haven't got a butt.

Good thing they invented trains

for travelling salesmen.

Alright, kill me. What's the gag?

- No gag.

If they didn't have trains, all the

travelling salesmen would have to

walk. What a job that would be.

You're a travelling salesman.

You ain't taken a train lately.

I'm a travelling salesman?

I'm a murderer.

You're a travelling salesman,

selling democracy to the natives.

So that's what I am, eh?

What do you know!

Where did you get that malarkey, Jake?

- Out of a book.

- A book?

You're a decadent democrat, Rivera.

- That's what I am, all right.

To get back to travelling salesmen,

how many of those joes do you think

would become one

if they had to walk everywhere?

I don't know. I never knew

a travelling salesman.

- Maybe I'll be one after the war.

You get to cover a large

hunk of territory.

Baby, you're covering a large hunk

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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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