The Great Raid

by

debbie lynn elias

After sitting on a shelf at Miramax for over two years (which seems to be the rule rather than the exception over there), “The Great Raid” finally hits movie theaters this week and not a moment too soon. Plagued by a dearth of mediocre and lackluster films, moviegoers everywhere should welcome this historically accurate, intelligently written, technically superior, action-packed story of the January 1945 liberation of the WWII Japanese POW camp at Cabanatuan. Based on two non-fiction books - The Great Raid on Cabanatuan by William B. Breuer and Ghost Soldiers by Hampton Sides - “The Great Raid” chronicles the efforts of the U.S. Army Rangers and Philippine guerrillas who rescued more than 500 Americans in this famous raid, most of whom were already sick and injured having survived the grueling Bataan Death March and many of whom have been held captive for more than three years. When the raid was over, losses sustained were 2 American and 21 Filipino lives with the Japanese forces losing some 800 in the surprise attack.

From an opening scene of 150 American POWs being herded into air-raid shelters, soaked with gasoline and burned alive, director John Dahl takes a very methodical approach to the film, progressing with military precision as the events leading up to the raid are meticulously detailed, providing a solid background of not only the mechanics of war, but the planned details of the raid, the raid as it actually occurred, the in fighting and squabbling among commanders and soldiers alike in this pressure cooker situation, and the reality and acceptance by the powers that be for the potential loss of life and even, the lack of success. There is no “shock and awe”, political two-stepping, or Hollywood glitz and glamour. This is the story of humanity - at its basest, at its worst and at its best.

Under the command of real-life war heroes, Lt. Col Henry Mucci and Capt. Bob Prince, having just landed on Luzon with General MacArthur, the 6th Army Ranger Battalion plunges into their first combat experience. With only their wits, each other and military training on which to rely, the 121 men of the 6th Battalion must penetrate 30 miles into Japanese controlled territory without detection. Skulking and slithering through open fields during daylight like snakes in the grass, the men cautiously making their way to the POW camp, hiding in ditches at night, waiting for the precise moment to make their surprise attack on the camp. Dahl builds the tension with such tacit efficiency and determination that you may find yourself ready to jump from your seat when the attack begins. Under cover of night and with communications silent, we sit and wait with the troops, eyes trained skyward in the darkness, as one lone Ranger makes his way closer to the camp to ascertain the status and position of the Japanese guards. The wait for him to return to his commander is agonizingly paralyzing. Did he get through? Is he dead? Was he caught? The tension is so thick you can cut it with a knife. Absolutely riveting.

Making the film even more powerful, is the use of not only archival narration and film footage, but the incorporation into the film of the Filipino fighters led by Capt. Juan Pajota. So often, war movies omit the allies who come to America’s aid, but not here. Were it not for the assistance of the Filipino “military” and locals who not only helped with logistical information, but who also transported by ox carts those prisoners too sick to walk on liberation, the entire mission may have failed. Dahl takes great pains to include not only their contribution to the raid, but the prejudice and general political climate and emotions of the time and as a result, has a well-rounded, full-bodied film with no glaring

Adding to Dahl’s superb pacing is the work of one of my favorite cinematographers, Peter Menzies, Jr. Using the washed out sienna toned look of photographs of the day makes the film even more compelling, contributing tenfold to the ambient reality of the situation at hand. His work capturing a pivotal battle sequence is as realistic as one can get, giving an almost 3-dimensional-you-are-there feel to scene. I fully expect an Oscar nod in Menzies direction come 2006. Production Designer Bruno Rubeo is also a standout. With his impeccable attention to detail and authenticity, the already high production values of this film go through the roof.

Written by Carlo Bernard and Doug Miro, the script fluidly combines the elements of both books on which this recounting is based and goes a step further seamlessly weaving the in sub-plots that are so crucial to the raid itself and the period leading up to the raid. Concentrating on the characters instead of effects, the story segues between the logistics of the raid and the POW’s themselves. We see the efforts of the POW commander, himself dying, as he tries to hold his men together; a nurse and local farmers of the Manila underground who try to smuggle food and medicine to the prisoners; and the race against time by all, knowing that the Japanese will execute the POW’s if they believe the Americans are getting too close to the camp.

Many have criticized the film for not having “A-List actors” for the leads, but I think the producers did well to select competency as opposed to star power in order to give full attention to this crucial, if not little known, piece of history. Benjamin Bratt heads the cast as Mucci and gives a surprisingly powerful performance. James Franco is no slouch as Captain Prince but doesn’t have quite the presence that Bratt conveys. Joseph Fiennes steps in as the fictional POW leader Major Gibson and like his brother, does an incredibly convincing job of combining adversity with inner fortitude and survival. The real stand-out is Cesar Montano as Captain Pajota. Bold, forcible, credible and determined, Montano adds real dimension to the cast. And of course, what would a military movie be without the work of Dale Dye as both a military trainer and a supporting actor.

Technically superlative and what should be a sure-fire Oscar contender in multiple categories, “The Great Raid” harkens back to the old school war movies of the 40's and 50's, telling a tale of courage under fire and serving as a reminder to us all in this day and age that war is not all about smart bombs and precision aerial displays; rather, it exemplifies life, death, honor and courage.

Benjamin Bratt: Lt. Col. Mucci James Franco: Captain Prince Joseph Fiennes: Major Gibson Cesar Montano: Captain Pajota

Directed by John Dahl. Written by Carlo Bernard and Doug Miro based on The Great Raid on Cabanatuan by William B. Breuer and Ghost Soldiers by Hampton Sides. A Miramax Pictures Release. Rated R. (133 min)

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