John Ford's 1948 classic stars John Wayne as a cavalry officer used to doing things a certain way out West at Fort Apache. Along comes a rigid, new commanding officer (Henry Fonda) who insists that everything on his watch be done by the book, including dealings with local Indians. The results are mixed: greater discipline at the fort, but increased hostilities with the natives. Ford deliberately leaves judgements about the wisdom of these changes ambiguous, but he also allows plenty of room in this wonderful film for the fullness of life among the soldiers and their families-community rituals, new romances-to blossom. Fonda, in an unusual role for him, is stern and formal as the new man in charge; Wayne is heroic as the rebellious second; Victor McLaglen provides comic relief; and Ward Bond is a paragon of sturdy and sentimental masculinity. All of this is set against the magnificent, poetic topography of Monument Valley. This is easily one of the greatest of American films. -Tom Keogh, Amazon. com.

During the Second World War the Germans put many of the Allied prisoners-of-war (POWs) who had proved consistent escapees together in a maximum security fortress, the very name of which became a legend. Based on the book by Colditz escapee Major Pat Reid, The Colditz Story (1957) documents the further, sometimes successful, escape attempts of these extraordinarily brave, resourceful and indomitable men. Starring John Mills, Eric Portman, Bryan Forbes and Anton Diffring, and co-written and directed by Guy Hamilton, who later made The Battle of Britain (1969), this is a sober, even-handed account, that is gripping and informative, yet not without humour. Sterling performances from the cast of stalwart actors adds up to a British cinema classic. Such is the fascination of Colditz that in 1972-3 the BBC made a very successful drama series staring Jack Hedley, Bernard Hempton, Robert Wagner and David McCallum, while in 2000 Channel 4 offered a superb three-part documentary, Escape from Colditz. In contrast to the semi-documentary feel of The Colditz Story David Lean's classic The Bridge on the River Kwai, from the same year, is an epic and powerful account of POW life in barbaric Japanese prison camps. -Gary S. Dalkin.

Set on a Pacific island in 1942, Too Late the Hero is a hard-as-nails "men on a mission" war movie: a group of British soldiers have to traverse the New Hebrides to destroy a Japanese radio transmitter, then get back to safety while being hunted all the way. Inevitably everything goes wrong, but director Robert (The Dirty Dozen) Aldrich turns the book of WWII movie clichés on its head and springs some unnerving surprises. Even the token American star, Cliff Robertson-echoing William Holden's grafted-on role in The Bridge on the River Kwai-proves less than obviously heroic, while an outstanding Michael Caine brings considerable depth to his usual cynical cockney. Henry Fonda gets heavily billed for a brief guest appearance, but there are star performances such fine British character actors as Denholm Elliot, Ian Bannen, Ronald Fraser and Lance Percival. This portrait of battle-worn men offers greater complexity than Spielberg's Saving Private Ryan, while the jungle trek was more recently paralleled in Terrence Malick's The Thin Red Line. Only the attitudes-more 1970 than 1942-detract from Aldrich's tellingly realistic vision, which with a thoughtfully ironic script and a succession of tense set pieces and brutal firefights, builds to a harrowing climax. On the DVD: The picture is presented at approximately 1. 7:1, reformatted from the original 2. 2:1 70mm theatrical presentation. Despite approximately 25 per cent of the original image being missing, this loss is only really noticeable in a few scenes. [+]

Directed by Ralph Thomas, Above Us the Waves (1955) tells of a Royal Navy mission to sink the "invincible" German battleship Tirpitz, off the Norwegian coast. John Mills is calm and confident as the mission commander, with strong support from John Gregson and Donald Sinden-all treated by the German personnel as fellow gentlemen when captured. Despite stirring music from Arthur Benjamin, the action sequences are visually no more than adequate, and the film is only a partial success. -Richard Whitehouse.

A crisp retelling of a true-life episode from the Civil War, The Horse Soldiers is a latter-day sorta-Western from John Ford, falling midway between The Searchers (1956) and The Man Who Shot Liberty Valance (1962). In 1863 a Union colonel named Grierson (Marlowe in the film, and John Wayne by any name) led his cavalry several hundred miles behind Confederate lines to cut the railway track between Newton Station and soon-to-be-embattled Vicksburg. Grierson's raid was as successful as it was daring, and remarkably bloodless. Never fear that the screenplay makes up for that un-Hollywood lapse-as well as supplying amatory distraction for the colonel in the form of a feisty Southern belle (Constance Towers) who has to be dragged along to protect secrecy. There's a certain amount of bombast in the running arguments about wartime ethics between Marlowe and the new regimental surgeon (William Holden), who don't take to each other at all. But Ford more than makes up for it with such tasty scenes as an encounter with a couple of redneck Rebel deserters (Denver Pyle and Strother Martin), an ethereal swamp crossing led by a cornpone deacon (Hank Worden), and above all the famous skirmish with a hillside full of young cadets from a venerable military academy. The film ends rather abruptly because Ford abandoned a climactic battle scene-the veteran stunt man and bit player Fred Kennedy having been killed in a horse-fall. Golden-age cowboy star Hoot Gibson, who acted in Ford's directorial debut, Straight Shooting (1917), appears as Sergeant Brown. -Richard T. Jameson, Amazon. [+]

The Blue Max is highly unusual among Hollywood films, not just for being a large-scale drama set during the generally cinematically overlooked Great War, but in concentrating upon air combat as seen entirely from the German point of view. The story focuses on a lower-class officer, Bruno Stachel (George Peppard), and his obsessive quest to win a Blue Max, a medal awarded for shooting down 20 enemy aircraft. Around this are built subplots concerning a propaganda campaign by James Mason's pragmatic general, rivalry with a fellow officer (Jeremy Kemp), and a love affair with a decadent countess (Ursula Andress) As directed by John Guillermin (best known for 1974's The Towering Inferno), the film's main assets are epic production values, great flying scenes and stunning dogfights. The weak point is the sometimes ponderous character drama, not helped by Peppard who is too lightweight an actor to convince as the driven anti-hero. Clearly influenced by Kubrick's Paths of Glory (1958), The Blue Max is a cold, cynical drama offering a visually breathtaking portrait of a stultified society tearing itself apart during the final months of the Great War. On the DVD: The Blue Max DVD's only extra is a very grainy original trailer presented at 1. 77:1. However, for the first time the film itself is complete to buy: the reel which was missing from the widescreen video release being restored here. Also included is the original intermission music. The film is presented anamorphically enhanced at a ratio approximating the original 2. [+]

Based on the true story of Lord Louis Mountbatten's destroyer HMS Kelly, In Which We Serve is one of the most memorable British films made during World War II. Unfolding in flashback as survivors cling to a dingy, constantly strafed by the Luftwaffe, the film recounts the history of HMS Torrin through various battles to her sinking off the coast of North Africa, interwoven with the onshore lives of her crew. The film was the inspiration of Noel Coward, who desperately wanted to do something for the war effort, and he produced, wrote the screenplay, composed the stirring musical score and starred as Captain Edward Kinross. Coward also officially co-directed, though in reality he soon handed the reigns over to David Lean, whose directorial debut this became. There is a fine performance from Celia Johnson, anticipating her character in Lean and Coward's Brief Encounter (1946) and excellent support from John Mills, as well as a star-making debut from an uncredited Richard Attenborough. The use of real navy and army personal as extras, together with lavish studio production and authentic shipboard location footage lends the film a sense of realism unusual for the time. A landmark in the careers of many of the most important names in British film, this moving and occasionally harrowing classic has a vital place in the development of British cinema. On the DVD: The image is presented in a close approximation of the original 1. 37:1 Academy ratio using a print that is good for its age but which would benefit from some restoration, several scenes showing notable damage. The sound is robust mono, though the main title music is very distorted. [+]