When George C. Scott played the title role in "Patton," you saw him directing tanks with pumps of his fist, shooting at German dive bombers with a revolver, and spewing profanity at superiors and subordinates alike. The most action we get from Gregory Peck as "MacArthur," a figure from the same war of debatably greater accomplishment, is when he taps mapboards with his finger and raises that famous eyebrow of his.
Comparing Peck's performance with Scott's may be unfair. Yet the fact "MacArthur" was made by the same producer and scored by the same composer begs parallels, as does the fact both films open with the generals addressing cadets at West Point. It's clear to me the filmmakers were looking to mimic that Oscar-winning film of a few years before. But while Peck looks the part more than Scott ever did, he comes off as mostly bland in a story that feels less like drama than a Wikipedia walkthrough of MacArthur's later career.
"To this day there are those who think he was a dangerous demagogue and others who say he was one of the greatest men who ever lived," an opening title crawl tells us. It's a typical dishwater bit of post-Vietnam sophistry about those who led America's military, very much of its time, but what we get here is neither view. MacArthur as presented here doesn't anger or inspire the way he did in life.
Director Joseph Sargent, who went on to helm the famous turkey "Jaws The Revenge," does a paint-by-numbers job with bland battle montages and some obvious set use (as when the Chinese attack U.S. forces in Korea), while the script by Hal Barwood and Matthew Robbins trots out a MacArthur who comes across as good-natured to the point of blandness, a bit too caught up in his public image, but never less than decent.
Here you see him stepping off the landing craft making his return to the Phillipines. There you see him addressing Congress in his "Old Soldiers Never Die" speech. For a long stretch of time he sits in a movie theater in Toyko, waiting for the North Koreans to cross the 38th parallel so we can get on with the story while newsreel footage details Japan's rise from the ashes under his enlightened rule. Peck's co-actors, Marj Dusay as his devoted wife ("you're my finest soldier") and Nicolas Coaster as a loyal aide, burnish teary eyes in the direction of their companion's magnificence but garner no interest on their own.
Even when he argues with others, Peck never raises his voice and for the most part wins his arguments with thunderous eloquence. When Admiral Nimitz suggests delaying the recapture of the Philippines, a point of personal pride as well as tactical concern for MacArthur, MacArthur comes back with the comment: "Just now, as I listened to his plan, I thought I saw our flag going down." Doubtless the real Nimitz would have had something to say about that, but the character in the movie just bows his head and meekly accepts the insult in the presence of President Roosevelt.
The only person in the movie who MacArthur seriously disagrees with is Harry S Truman, who Ed Flanders does a fine job with despite a prosthetic nose that makes him resemble Toucan Sam. Truman's firing of MacArthur should be a dramatic high point, but here it takes place in a quiet dinner conversation, in which Peck plays MacArthur as nothing less than a genial martyr.
I've never been sold by Peck's standing at the upper pantheon of screen stars; he delivers great presence but lacks complexity even in many of his best-known roles. But it's unfair to dock him so much here, as he gets little help defining MacArthur as anything other than a speechifying bore. Except for two scenes, one where he rails against the surrender of the Philippines ("He struck Old Glory and ran up a bedsheet!") and another where he has a mini-breakdown while awaiting the U.S. invasion of Inchon, inveighing against Communists undermining him at the White House, Peck really plays Peck here, not the complex character who inspired the famous sobriquet "American Caesar." The real MacArthur might have been worthy of such a comparison. What you get here is less worthy of Shakespeare than Shakes the Clown.
Comparing Peck's performance with Scott's may be unfair. Yet the fact "MacArthur" was made by the same producer and scored by the same composer begs parallels, as does the fact both films open with the generals addressing cadets at West Point. It's clear to me the filmmakers were looking to mimic that Oscar-winning film of a few years before. But while Peck looks the part more than Scott ever did, he comes off as mostly bland in a story that feels less like drama than a Wikipedia walkthrough of MacArthur's later career.
"To this day there are those who think he was a dangerous demagogue and others who say he was one of the greatest men who ever lived," an opening title crawl tells us. It's a typical dishwater bit of post-Vietnam sophistry about those who led America's military, very much of its time, but what we get here is neither view. MacArthur as presented here doesn't anger or inspire the way he did in life.
Director Joseph Sargent, who went on to helm the famous turkey "Jaws The Revenge," does a paint-by-numbers job with bland battle montages and some obvious set use (as when the Chinese attack U.S. forces in Korea), while the script by Hal Barwood and Matthew Robbins trots out a MacArthur who comes across as good-natured to the point of blandness, a bit too caught up in his public image, but never less than decent.
Here you see him stepping off the landing craft making his return to the Phillipines. There you see him addressing Congress in his "Old Soldiers Never Die" speech. For a long stretch of time he sits in a movie theater in Toyko, waiting for the North Koreans to cross the 38th parallel so we can get on with the story while newsreel footage details Japan's rise from the ashes under his enlightened rule. Peck's co-actors, Marj Dusay as his devoted wife ("you're my finest soldier") and Nicolas Coaster as a loyal aide, burnish teary eyes in the direction of their companion's magnificence but garner no interest on their own.
Even when he argues with others, Peck never raises his voice and for the most part wins his arguments with thunderous eloquence. When Admiral Nimitz suggests delaying the recapture of the Philippines, a point of personal pride as well as tactical concern for MacArthur, MacArthur comes back with the comment: "Just now, as I listened to his plan, I thought I saw our flag going down." Doubtless the real Nimitz would have had something to say about that, but the character in the movie just bows his head and meekly accepts the insult in the presence of President Roosevelt.
The only person in the movie who MacArthur seriously disagrees with is Harry S Truman, who Ed Flanders does a fine job with despite a prosthetic nose that makes him resemble Toucan Sam. Truman's firing of MacArthur should be a dramatic high point, but here it takes place in a quiet dinner conversation, in which Peck plays MacArthur as nothing less than a genial martyr.
I've never been sold by Peck's standing at the upper pantheon of screen stars; he delivers great presence but lacks complexity even in many of his best-known roles. But it's unfair to dock him so much here, as he gets little help defining MacArthur as anything other than a speechifying bore. Except for two scenes, one where he rails against the surrender of the Philippines ("He struck Old Glory and ran up a bedsheet!") and another where he has a mini-breakdown while awaiting the U.S. invasion of Inchon, inveighing against Communists undermining him at the White House, Peck really plays Peck here, not the complex character who inspired the famous sobriquet "American Caesar." The real MacArthur might have been worthy of such a comparison. What you get here is less worthy of Shakespeare than Shakes the Clown.