The Men (1950)
Directed by Fred Zinnemann
Stanley Kramer Productions / United Artists
The reason most people these days will watch The Men is to see Marlon Brando in his first film role. In fact, this is probably the only place to see Marlon Brando before he became “BRANDO,” since the next film he made was A Streetcar Named Desire (1951), which cemented his status as an icon.
So it’s certainly worth seeing for fans of Brando, but it’s also a pretty solid movie about the aftermath of war, and about people coming to terms with disability.
Brando stars as a corporal named Ken who was wounded in World War II and lost the use of his legs. The Men takes place in a VA hospital where the gruff Dr. Brock (Everett Sloane) treats a group of combat veterans who will never walk again. Dr. Brock has the demeanor of a drill instructor, and works to disabuse the men in his care of the notion that there is a miracle cure around the corner. The sooner they accept their paraplegia, the sooner they can work toward healing their bodies and their minds.
In the hospital, Brando is just one man among many, and the cast includes actors like Jack Webb, but also actual veterans who lost the use of their legs in the war, like Arthur Jurado, a bodybuilder with a very impressive physique.
The director of The Men, Fred Zinnemann, is best known for making High Noon (1952), but he directed a lot of good movies, and this is one of them. I thought his last two films — The Search (1948) (which introduced another ’50s acting icon, Montgomery Clift, to film audiences) and Act of Violence (1948) — were both minor masterpieces.
The Men has a lot more in common with the European postwar drama The Search than it does with the noir potboiler Act of Violence. Like The Search, The Men could have easily been turned into a sentimental, overwrought mess in another director’s hands, but Zinnemann was an unsentimental and restrained director who trusted his actors.
It’s a dated film in plenty of ways, but it’s still a pretty well-made and moving story about the effects of catastrophic disability, as well as the disconnect between combat veterans and the well-meaning people back home who thank them for their service but can’t relate to what they’ve been through. It’s also a great showcase for Marlon Brando. As this film shows, he arrived onscreen with his persona fully formed.
The Clock is the first film Judy Garland made in which she did not sing. She had specifically requested to star in a dramatic role, since the strenuous shooting schedules of lavish musicals were beginning to fray her nerves. Producer Arthur Freed approached her with the script for The Clock (also known as Under the Clock), which was based on an unpublished short story by Paul and Pauline Gallico. Originally Fred Zinnemann was set to direct, but Garland felt they had no chemistry, and she was disappointed by early footage. Zinnemann was removed from the project, and she requested that Vincente Minnelli be brought in to direct.
OCD Viewer 