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Tuesday 18 September 2018 photo 5/7
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Force 10 From Navarone Download Movies
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Mallory and Miller are back. It seems that there was traitor with them at Navarone, whom they thought was executed. But it seems that not only was he not executed, and he was not a traitor but a German spy. Intelligence believes he made it to Yugoslavia and is now with the Partisans. So, Mallory and Miller being the only ones who can positively identify him are sent along with a unit called Force 10, which is led by Colonel Barnsby, who objects to their presence. It seems that Force 10 has a mission of their own which Mallory and Miller know nothing about. When their plane is shot and most of the team is killed, they mistakenly believe that some of the locals they meet are Partisans but in reality are German Allies, so they are taken prisoner, and have to convince the German commander that they are not spies or else they will be killed.
In the darkest days of World War II, Hitler's armies are storming through Europe, annihilating all opposition in their path. But U.S. Colonel Barnsby plots to strike a crippling blow to the brutal Nazi forces. To succeed, he'll need the help of the most skilled and lethal soldiers in the world: the Force 10 squad, fresh from its triumphant mission at Navarone. But when the team's plan goes awry in a firestorm of blistering battles, Barnsby and the squad's hard-driving Major Mallory are forced to devise a new and even more dangerous scheme to attack the Nazi war machine . . . or risk losing the rest of Europe to its awesome, destructive power.
Force 10 from Navarone is directed by Guy Hamilton and adapted to screenplay by Robin Chapman. It stars Robert Shaw, Harrison Ford, Edward Fox, Carl Weathers, Franco Nero, Richard Kiel and Barbara Bach. Music is by Ron Goodwin and cinematography by Christopher Challis.
An unnecessary and belated follow up to The Guns of Navarone (1961), Force Ten follows the same formula but doesn't have the class of the earlier movie. It's another men on a mission movie that sees the guys en-route to blow up a dam in Second World War Yugoslavia. Cue a spy in the ranks who needs fleshing out, scrapes and tribulations involving partisans and inevitable capture, and the presence of Weathers' Sergeant Weaver gives the story a whole bunch of racial tension.
Sadly suspense is very much lacking within the two hour running time, director Hamilton (probably under orders) just stringing the plot along in undemanding fashion. There's the usual quota of machismo, although Barbara Bach's token female interest tries to lower the testosterone levels, and Goodwin's brisk militarised score is pleasant enough. Cast performances are credible, with Fox the most watchable, and real Yugoslavian location usage is truly a plus point.
Not awful, just hackneyed and instantly forgettable. File in the DVD cabinet under title "Disposable Men On A Mission Movies". 5/10
Rarely have I seen a film that can deliver the texture or climate of its subject. Whether by chance or mere coincidence Force 10 was able to transcend the nature of war and the continued intersecting forces that were at play during the WAR. The mood and the feel of this film depicts the greater neurosis and desperation of the English trying acclimatize there place in history. With guerrilla tactics infiltrating allied army posts before the truth of what they did was exposed. You saw as Major Malory's character(Robert Shaw) was defiantly gregarious in contrast to Sgt Miller's(Edward Fox) whose subordinate intelligent nature led to a believable typecast.
While Malory couldn't dismiss his admiration for Leskovar it was tempered by only by his ill will for Leskovar (Franco Nero). At this time of the war Germany's infrastructure was still in tact. As it was LT. Barnsby (Harrison Ford) was interested only on his commands directive despite the odds. Leskovar was able to portray the subtle magnificence that Germany possessed. Although surrounded and outnumbered he stood fast to duty and was unmoved by any peripheral motivations of Malory to stop him. Conversely it was this same menacing quality that was greatly misunderstood and undermined by a bewildered British Parliament.
The remarkable leadership (Malory) portrayed the way this "special forces groups" and were able to maneuver weaving through the German forces. This was the brilliance Guy Hamilton(director)captured in was in direct juxtaposition of what the Wehrmacht were going through in this film circa 1942-43; everything seemed quite routine propagandized as if this part of the war was just a larger part of the endgame. This was the climate of the time you could feel the condensing push of allied forces tightening there grip by blowing this bridge would cause a bilge in the German forces creating a forced hemorrhage within Army group.
The unsettling dampness of Unasylva Forest woven through slumbering Corsican pines that elbowed there way over an uneven earth plump with unforgiving terrains that would of allied the Axis at this time. This late Autumn feeling emanated throughout the film the precipice of change was completely missed on the critics. So as the Wehrmacht regrouped amongst the Bridge head and silver firs that spiked curving bridgehead the terrain helped to sustain the Wehrmachts march.
It felt as if you were in the EAST in 1942-43 when hope for Germany was still a plausible horizon. So it was the death of Leskovar that represented the turning point as the rise of the American Hero significantly allowed for Britain's role to be inwardly reserved albeit an antinomical position. And the advent of any resistance was carried out with an seemingly all do or die attitude. This translates through the film and resonates better than any other war film I have seen on this topic. Because it dealt with precisely the indifference of war while other battles were being fought.
The a cataclysmic battle of wills and what one side was willing to do on every level, and even this highlighted in the railway car where Leskovar had attempted to stop the saboteurs and forbade the plans of Barnsby and Malory. This was a polarizing moment when all could of been won or lost. Why had Leskovar gotten back on the train car he had to of known by then he would be found out. He might of ordered another division to shoot the train-car and warned the bridge ahead. These are the speculative questions of war the in this film I feel are overlooked by some, this film is magnificently real and I feel people wanted a more "Hollywood feel".
Then at last the fuses to be lit (Miller) Barnaby and Malory are anxious to boggle the whole deal and get caught but again the weight of German Tanks are again their undoing, the symbolism in this film are uncanny. Even if they weren't the real Tigers or Panzer corps.The Tigers albeit monster were unsuited for most every terrain and battlefield in which they fought. This magnifies advanced thought process but also the egotism that over thought, and fought useless battles one after the next. And the greatest battle was with the weather while this film brings this into the perfect backdrop. All the while the useless battles of division and armored divisions raged on that would of been better suited and served in the greater offensive or defense that Germany was later faced with.
And the long stem irony of this film that one bridge destroyed could of ended the war.But this underscores the greater example of symbolism in this film. Perhaps an ethereal bridge of atonement might of better explained that in the end it was the bridge of communication that was that would need to be crossed time and time again. This is why the balance of leadership must be one voice restrained by reason and when these lines are broken or intercepted it is hard to sustain any chain of command. And so the "Force 10 from Navarone's" "The guns of Navarone" are left for the Victorious ones and their books of fiction. Humanity and the historical texts that in reality written as revisionist history books well we can see what we have done with that history of humanity.
Force 10 is funny, but not quite funny enough: too often one laughs at its implausibilities without knowing if the filmmakers are in on the joke. The old-fashioned script by Robin Chapman has just enough tongue in cheek so that the cliches can be taken as irony, but Guy Hamilton's direction tips the balance toward cliche. An old hand at engineering actors in and out of impossible pickles, Hamilton keeps the action going, but the surprises are so mechanically executed that they rarely amaze. [18 Dec 1978, p.85]
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