In Harm's Way

"I wish to have no connection with any ship that does not go fast; for I intend to go in harm's way." - John Paul Jones

Early in the film, Rock Torrey (John Wayne) and his exec, Commander Eddington (Kirk Douglas) observe a new heavy cruiser sail from Pearl Harbor to join the fleet, and Wayne's next line contains the movie's title: "A fast ship going in harm's way!" This film is about exactly that - fast ships and men going in harm's way! "In Harm's Way" is about decisiveness when under pressure, about thinking fast on one's feet, with no regrets.

The scene in CINCPAC's private study right after CAPT Rock Torrey (Wayne) is promoted to Rear Admiral is a memorable one. CINCPAC (Henry Fonda) is rightfully impatient with Admiral Broderick (Dana Andrews), who is egotistical, but unwilling to decide to attack, much like Civil War Union General McClellan. CINCPAC recalls that Lincoln brought in a hard-nosed general named Grant who didn't care less about organization, he just pointed his battalions in the right direction, and he charged the enemy. The whole theme of the film is contained in CINCPAC's next line to Rock Torrey:

"You're gonna be my Grant!"

I also noticed that Director Otto Preminger briefly revisits his theme of an informant-plant as an in-house bad guy, a theme he covered more extensively with Peter Graves as the Nazi barracks spy in "Stalog 17".

The characters all have flaws, but each one rises to the occasion when the war calls on them to give their best. Rock Torrey does not waste a second driving straight into battle, no matter how impossible the odds! This is the classic stuff of Hollywood Magic and also of inspiration! Buy this DVD! There is inspiration in this old film, and as with the good old Duke, the actors capture all the best things about taking brave risks and decisive action when in harm's way.

On any level you want, "In Harm's Way" delivers!

Though a film about US entry into World War II centering on the surprise attack on Pearl Harbor, "In Harm's Way" has a 60's look and feel about it. The opening sequence with Barbara Bouchet as Liz Eddington salaciously dancing around teasing all the men and infuriating all the women is more a twist than a swing. The dress she wears is also more of a sack dress than the skirts fashionable in America in 1941. John Ford's 1945 "They Were Expendable," starring John Wayne, is a superior film overall and is closer to home since it was made during the war years. Still "In Harm's Way" has its moments and should be enjoyed, especially by the many fans of the Duke.

The story about Capt. Rockwell Torrey (Wayne) trying to get to know the son he has not seen since the boy was four nearly slips into maudlin sentimentality several times, but is yanked back to more refined cinema by director Otto Preminger. Ditto for the budding romances between Admiral Torrey and Maggie Haynes (Patricia Neal), and between the admiral's son, Jere (Brandon De Wilde) and Annalee (Jill Haworth). The battle scenes are exciting and well-staged. The ending is a bit much but still satisfactory. The acting by a Hollywood cast of major stars of the era is top notch all the way as is to be expected.

The screen play by Wendell Mayes from James Bassett's novel, "Harm's Way," is effective, telling the story of Admiral Rockwell Torrey's daring comeback following humiliation at Pearl Harbor. Torrey is sent to salvage a mess up by politically motivated Admiral Broderick (Dana Andrews), whose tactics are similar to General George B. McClellan's in the early days of the American Civil War and for like reasons. The assignment is in reality a backup operation to take pressure from the main assault by the Japanese on General Douglas MacArthur's forces in the Pacific. Against great odds, including one of the largest ships in the Japanese navy, Admiral Torrey and his fighting men, including several nurses, must persevere. Fleet Admiral Chester Nimitz (Henry Fonda) personally places full confidence and support in Torrey. Along with the brutal fighting are the subplots involving the romances and father-son theme mentioned above.

John Wayne fans and war action fans should enjoy "In Harm's Way." I highly recommend "They Were Expendable" for those viewers who like this movie.

In Harm's Way is a film that is historically important in the career of its star, John Wayne, for two reasons. First, it marked his last appearance in a Black and White film, and second, it was his last film before undergoing surgery for lung cancer. It also marks Wayne's first of three films with Kirk Douglas, and his only film with director Otto Preminger.

As for the film itself, it is a character-driven story with the World War II setting used as a backdrop. Like other Preminger pictures of the time (Exodus, Advise and Consent) it has a big-name cast and an "epic" feel. Watch for Henry Fonda in a small part as Admiral Nimitz (referred to as "CINCPAC II"). Wayne plays Rockwell Torrey, a naval officer blamed for the Pearl Harbor disaster, and demoted. But Nimitz (Fonda) knows that Torrey is a good commander, and when timorous politician-turned-Admiral Broderick (Dana Andrews) botches a key operation, Nimitz turns control over to Torrey, giving him a second chance.

On the personal side, Torrey tries to help his second-in-command, Paul Eddington (Kirk Douglas), who, as they say, is going through some personal problems of his own. Torrey also tries to repair his relationship with his estranged son Jeremiah (Brandon De Wilde), and finds time to conduct a "twilight romance" with nurse Lieutenant Maggie Haynes (Patricia Neal).

Two scenes in particular make this film stand out. The first occurs when Wayne and Neal are alone together in his apartment, the night before she is about to be shipped out. I won't spoil it for anyone, but let me say that it is a classic example of how a scene can ooze with "sex" without actually "showing" a single thing. It's a perfect example of how this kind of scene can be handled tastefully and professionally. It's called class, folks, and it is apparently something that modern Hollywood cannot or will not understand. The second is a discussion on cowardice between Wayne and Burgess Meredith as the fleet is preparing to meet the Japanese in battle. Once again, I won't spoil it, but it a memorable and classic scene, the quote that I have used to head my review is delivered by Wayne during it.

While In Harm's Way may, at first, seem to be simply a film about the politics of Navy hierarchy, it is really a film about the personal lives and struggles of the men and women of World War II.

I've always felt that in these big budget all star epics, the trick is to give each of the star a role of substance as small as the part might be sometimes. That's one of the best things about In Harm's Way, Otto Preminger cast this film with a whole lot of big movie names and each one of them made their presence felt.

Case in point the three admirals played by Franchot Tone, Dana Andrews, and Henry Fonda. All three are very different type men. Tone is a man knowing he'll be sitting the war out because it was on his watch that the Pearl Harbor attack occurred. He's not bitter, he knows that's how things work in the navy. Dana Andrews is a publicity conscious admiral who employs the unctuous Patrick O'Neal in that regard. Henry Fonda plays the second commander in chief of the Pacific, Chester Nimitz in all but name. Oddly enough Fonda would play Nimitz again and by name in the film Midway a decade later. All three of these men make a deep impression on the audience despite having limited roles.

I'm sure that when Otto Preminger was casting In Harm's Way he must have seen Operation Pacific and saw the easy chemistry that John Wayne and Patricia Neal had 14 years earlier. Playing older and wiser versions of themselves from the previous film, Wayne and Neal show love ain't just for the young.

In Harm's Way has the Duke as a father figure for the first time. As Rockwell Torrey, the rock of ages as Kirk Douglas calls him, in addition to the Pacific War he takes on a whole lot of people's problems and they look to him for advice and comfort. In addition to his biological son Brandon DeWilde, the Duke also deals with Kirk Douglas and his problem concerning his tramp of a wife and the problems of young Lieutenant j.g. Tom Tryon and his wife Paula Prentiss.

One of my favorite John Wayne scenes is with Prentiss as he brings her the news about Tryon being missing in action. It is so well done from both players I'm still moved after having seen In Harm's Way a dozen times or more.

Acting honors however may go to Kirk Douglas as Wayne's chief aide who has the most complex role in the film. Douglas runs the gamut of emotions as he does in so many of his roles, from naval hero to maniacal rapist. Douglas actually hopes the war coming will help him put his personal problems on a back burner. For a while and it does, but only temporarily.

Another favorite I have here is Patrick O'Neal who if there is a villain other than the Japanese, he's it. He's a smarmy former Congressman who's looking as the war as a series of photo ops and is already planning his post war political career. O'Neal's not above jeopardizing a naval operation for the sake of a little publicity for his boss Dana Andrews. His confrontation with Kirk Douglas in the latrine is a classic.

In Harm's Way is a skilled blend of war drama and soap opera in the best sense of that term. It can be enjoyed and appreciated by fans of both.

John Wayne spent much of his later career foolishly playing much younger characters (e.g. "McQ" or "Brannigan") or indulging in clearly conscious self-parodies such as "True Grit." Most of his roles in the 60s and 70s were unworthy of his talents, but in 1964 he turned in one of his finest performances in Otto Preminger's "In Harms Way." His portrayal of Captain (later Rear Admiral) Rockwell Torrey saves an elaborate war film and shows that the Duke was a very capable actor.

Wayne will always be remembered as an action hero - riding, brawling, and shooting his way across the screen, stopping now and then for a drink or, less often, a kiss. But in this film, there are no horses, his one brawl is verbal, and he doesn't even carry a gun. Shorn of his usual props and plot devices, Wayne has no choice but to act and he delivers an extremely effective performance. He commands, he counsels, and in his own understated way, he loves. The picture's soap opera structure actually works to his advantage, giving him many opportunities to show different sides of his character's personality and to interact with almost every other performer in the film.

The rest of the huge cast is generally strong. Patricia Neal is fine as Wayne's romantic interest, playing a nurse who, as she says, is not a lady; Kirk Douglas is a bit overbearing at times as his exec, but then the role calls for it; Dana Andrews has one of his few good mature roles as the overly cautious Admiral Broderick. Everyone is up to the task but it's Wayne who carries the picture.

"In Harm's Way" is a heavily fictionalized account of the attack on Pearl Harbor and the subsequent campaign to take and hold Guadalcanal. Although the story owes more to the source novel than to real history, the tone of the film reasonably reflects the anxieties and uncertainties the Navy faced during the first year of the Pacific War.