Murphy's War

MURPHY'S WAR… Peter O'Toole…Director Peter Yates… Central Casting sent Jerry Floyd, Nick (the bubble) and myself down to Portsmouth or Southampton (cant remember which) to play German U Boat crew. We'd be there for a couple of days and stay in a local B/B over night. When we get called onto the set we go below decks on a British submarine that is decked out like a second world war German U Boat. Now it seems in the film the U Boat has run aground on a sand bank on an inlet river in South America and is waiting for the tide to turn so it can re-float. Meanwhile Peter O'Toole is trying to chop a very large tree down and put it across our Sub. (Thus, causing us some discomfort.) (Got the plot so far, he's dropping trees, and I'm in the basement..) A cute make up girl asks me to strip to the waist (and I think, from the shoes up, what no flowers? We've only just met) but she has to put make up on my face and body to make me look tanned as if I was in South America. Bert Batt the 1st A.D. took us all to see the Director Peter Yates (of Bullitt fame) and I was chosen to be the blue eyed German working the controls of the Sub.. After a few different angles the make up girl applies sweat to my hair and face. The camera is stuck an inch from my nose. (Now we are talking about close ups here. My face plastered sixty foot by eighty foot at the Odeon Marble Arch. She could have saved on the sweat, I was sweating for England.) Peter was guiding me through the shots. ''Imagine you can hear a noise above you. Now imagine there's a noise to your left, now to your right. Don't move your head Back too far, we're close on your eyes.'' Then it was ''CUT, see you in the morning Eight O clock.. Thanks Harry that was good''. Well that was good for me too. It took me hours to come down. Me, Jerry and Nick went out on the town and got very drunk. (Well it makes a change)? The next day I'm back at the controls of the Sub and I'm thinking is it to be another starring role. Peter tells us today's the day the Sub gets hit and there could be a drop of water splashing around. First scene control room…I'm standing at the controls and Peter talks me through it. ''Now concentrate on the controls Harry and keep looking about. It seems the tide is coming in and you're going to be all right. Now give a huge sigh of relief. It's very quiet now but suddenly, !!!!! CRASH !!!!. That's the cue for the Prop men to sling big buckets of freezing cold water over me. ''You're panicking now Harry (He's got good eyesight) More water on him and CUT. I spent most of the rest of the day sitting on the Sub deck enjoying the warm sun while the Stuntmen got their share of the water. We shot some other stuff in one of the cabins drinking beers then it was time to head off back to London. Thanks Mr. Yates. (You must remember in the film game that all the shots don't make it to the big screen, a lot end up on the cutting room floor

I saw this film first time round and, going by the date is was made, I must have been about seven years old. Our cinema in Lochgelly was rather lax about age restrictions.

Scenes still stick in my mind and its themes are still very much with me — the horror and dehumanizing impact of war and the futility of revenge.

I have since seen the film again and I was glad not to be disappointed. Being older and wiser, one is inevitably more critical, but there is so much to enjoy in this film. The performances, setting and story all work together to draw you into its dark and dangerous world.

Most notably of all, the U-boat commander and his men are portrayed as human beings. Efficient, determined, ruthless, but they too have feelings and hate the whole damn war just as much as Murphy. This was unusual in war films up until then, and its progressive, enlightened approach to the war enhances the story. We understand and even feel for Murphy, but we too must understand that sometimes we need to let go, accept our losses, be glad we survived and realise that our enemies are human too.

Peter O'Toole stars as Murphy, sole survivor of a ship torpedoed by a German U-boat at the close of WW2. He generates a lot of hatred towards the Germans and sets about to extract revenge for his fallen comrades. This is a story of hatred gone ballistic and obsession for revenge. It seems that Murphy has gone mad. Towards the end of the film, a means to get his revenge becomes available and he sets out to kill the U=boat. Will he succeed? A very good film!

Two World War was just ending , a German submarine , U-Boat , commanded by a captain called Lauchs (Horst Janson) sinks an English ship and gun down most of its crew . Then , a sole survivor of the ship , the revenge-minded Murphy (Peter O'Toole) carries on his own war , no matter what the cost to himself . The Irishman survives and returns to health thanks to a nurse named Hayden (Sian Phillips , real-life O'Toole's wife) . Murphy's war is about to begin from a settlement on the banks of the Orinoco River .

Thrilling and exciting screenplay concerning about an obsessive seaman with an eagerly determination to seek vendetta on the Germans , even after he learns the war has ended . Interesting and moving script by prestigious Sterling Silliphant , saddling some nice action scenes at the ending , when it takes place a relentless pursuit between a boat and the sub , specially in the last reel . Sensational acting by Peter O'Toole as the lone survivor from a British naval ship who seeks revenge when his ship is sunk by the Germans and gunned down most of its crew . However , his extreme obsession with desire for vengeance upon the Germans isn't believable , but the moments that click make the movie more than worthwhile . This character about an avenger who seeks revenge on those who killed his crewmates bears remarkable resemblance to ¨Moby Dick's Captain Ahab¨ by Herman Melville . Other important players are : Philippe Noiret as his supporter and sympathetic helper gives a mesmerizing acting , Siân Phillips as a good-tempered nurse and Horst Janson as a captain who massacred the Allied shipmates in the water .

Magnificent color cinematography on tropical places by Douglas Slocombe . Adequate as well as stirring musical score by John Barry . The motion picture was compellingly made by Peter Yates and splendidly edited by film editor John Glen , subsequently director of James Bond movies . Never a prolific director, Peter Yates subsequently made only a few more films . His best films include the stylish and ingenious caper comedy Hot Rock (1972); the underwater adventure Deep (1977), based on the novel and screenplay by Peter Benchley ; and the quirky coming-of-age comedy Breaking away (1979). For the latter, Yates received simultaneous Oscar nominations as Best Director and Best Producer and the enjoyably old-fashioned comedy Curtain call (1998), starring Michael Caine and Maggie Smith as a couple of theatrical ghosts . He was nominated again for a more cerebral 'actor's piece', The dresser (1983), starring Albert Finney and Tom Courtenay , based on a play about an ageing stage actor and his long-standing assistant. It was followed by a flop titled Eleni (1985) with John Malkovich . Most memorable, perhaps, were the courtroom thriller Suspect (1987), and the political drama House de Carroll Street (1988) 2011 , following directing a few films until death in 2011 (age 81).

The film stands as an intriguing yet flawed entry in the pantheon of World War II cinema. It boasts a unique perspective, one that eschews large-scale battles and grand military operations in favor of an intimate, singular vendetta. The choice of setting-a remote, desolate stretch of riverine wilderness-imbues the film with a sense of isolation and desperation, a fitting backdrop for the protagonist's one-man war. While this approach differentiates the movie from more conventional war films, it also limits the narrative's scope, which at times results in a sluggish pace that threatens to undermine the tension.

Visually, the cinematography does an admirable job of capturing both the beauty and the harshness of the natural environment. The interplay between the tranquil setting and the ever-present undercurrent of danger is one of the film's strongest elements. However, despite these striking visuals, the direction occasionally falters, particularly in sequences that demand a more dynamic sense of movement and urgency. In contrast to films like "Das Boot" or "The Enemy Below," which masterfully sustain tension through confined naval confrontations, this film sometimes struggles to maintain a consistent level of suspense, as certain sequences feel overly drawn out or lacking in dramatic escalation.

From a technical standpoint, the practical effects and stunts are commendable, particularly given the era of production. The reliance on real aircraft and ships lends the film a tangible authenticity that many contemporary war films struggle to replicate. However, the action choreography is uneven-some sequences are gripping and raw, while others suffer from an awkward execution that diminishes their impact. The sound design is serviceable, though not particularly noteworthy, missing the kind of auditory immersion that films like "Tora! Tora! Tora!" achieve so effectively.

Performance-wise, the lead actor delivers a committed and deeply personal portrayal, convincingly embodying a man consumed by vengeance and grief. The film rests heavily on his shoulders, and while he brings a rugged charisma to the role, there are moments where the performance borders on theatrical, especially in the absence of a strong supporting cast to balance it. Unlike war films that offer a nuanced ensemble dynamic-such as "Cross of Iron," where the interplay between characters enhances the psychological weight of the conflict-this film places nearly all emotional stakes on a single character, which can make some scenes feel repetitive or one-dimensional.

In many ways, the film belongs to the subgenre of war movies that glorify the lone hero against impossible odds, the near-mythical figure who defies all logic and probability to accomplish his mission, even at the cost of his own life. The idea of one man taking on an entire German U-boat and succeeding through sheer willpower and ingenuity borders on the propagandistic, echoing the well-worn trope of the invincible British or American soldier single-handedly defeating the enemy. While this storytelling device has been widely used in war cinema, it often strains credibility, reducing complex wartime realities to a simplified and exaggerated narrative of heroism. The film embraces this almost superhuman portrayal of its protagonist, which, while entertaining in a pulpy, action-driven sense, ultimately detracts from the realism that other war films of the era strive to maintain.

The film's greatest strength lies in its atmosphere and its unorthodox approach to the genre, yet this very quality also becomes its weakness. By focusing so intently on a single character's pursuit, it misses opportunities to explore broader wartime themes or deliver the kind of gripping, large-scale sequences that define many of the best World War II films. Where "The Guns of Navarone" or "Sink the Bismarck!" succeed in blending spectacle with character-driven drama, this film leans too heavily on the latter, at times to the detriment of its pacing and overall impact.

Ultimately, the film is a fascinating yet imperfect experiment in World War II storytelling. It offers moments of genuine intensity and a protagonist whose obsessive drive is compelling, but it also suffers from an uneven execution that prevents it from reaching the heights of the genre's best. It is an admirable effort that will intrigue dedicated fans of wartime cinema, though it may leave others wishing for a more refined balance between character study and action-driven storytelling.