Sahara

"Sahara" is a first-rate War film, well directed by Zoltan Korda, which qualitatively balanced its superb action sequences with penetrating character studies…

Bogart is seen as a tank commander who, when separated from his unit in the Libyan Desert, picks up a group of allied (and eventually several enemy) stragglers and heads out in search of badly needed water… Once they arrive at a nearly dry oasis, and after he learns that a motorized battalion of Germans is also after the water, Bogart decides to make a valiant stand…

Bogart's characterization is excellent as he gave what many considered to be the most realistic portrait of the truly "American" fighting man yet pictured on the screen…

Assisting in the overall success of "Sahara" was a masterful musical score by Miklos Rozsa, who did similar duty the same year in another "tank" picture, Billy Wilder's "Five Graves to Cairo."

One thing to know about this enduring minor classic is that it was never included in the Harvard University based eggheaded revival of Bogart films. The super-brains there only recognized Warner-Bogart movies, never those made by Columbia; even though several of Bogart's best were Columbia Pictures and African Queen and Barefoot Contessa were United Artists.

Columbia took a B-movie sized budget, a great story, excellent acting and made a classic which had a shelf-life in theaters and TV in excess of 40 years. The story was good enough to be remade as a western in 1953 called Last of the Comanchees. Two years ago, Hollywood used the same title (Sahara) to produce a huge budget color adventure movie (but with an altogether story). With unlimited resources and today's alleged high tech, Hollywood produced a mildly entertaining picture which had a shelf-life, not of 40 years, but way under 40 weeks.

The Bogart SAHARA isn't easy to find these days, but have a look on eBay or request it from Turner Classics. Timeless, it won't disappoint even after 63 years.

Bogart does well as an American tank commander early in WW II coming across some retreating British infantry. They later make a dramatic last stand against the attacking Germans.

Two actors make this movie a standout. J. Carroll Naish was of Irish descent, and he never played an Irishman in his long and great career as an actor. Check his movies and look for his great performances. Here he is magnificent as a tormented and disillusioned Italian prisoner (a German ally) who has to fianlly decide if he'll fight with the Germans or stand with the Allies, who could have let him die in the desert.

Rex Ingram was a fine black actor who here plays a Sudanese soldier in British colonial service. The depiction of a heroic black soldier was rare during World War Two (see my review of "Bataan"). He too was memorable. It's a fine film and worth catching whenever you can find it.

"Sahara" is interesting from several standpoints. First, it is an excellent drama, well acted and directed, with good production values. Second, it raises an interesting moral question. Third, it has implications regarding the main actor and his future movie career.

"Sahara," the story of a rag-tag group of soldiers fleeing from Rommel's Afrika Korps in a US tank, is enjoyable throughout. The cast is fine, representing a number of nationalities and even races. I think this is one of Bogart's better acting jobs, and J. Carrol Naish, Lloyd Bridges, Rex Ingram, Dan Duryea, and the others are equally good.

While this may be a propaganda film, it is no "our hero wipes out an enemy division without a scratch" potboiler. On the contrary, the decision made by Sgt. Joe Gunn (Bogart) to stay and fight a German regiment rather than heading for British lines is a desperate gamble little better than a suicide mission. This brings up my second point; the ethical question.

St. Gunn gets the idea to stay at the oasis they have reached in order to fight and delay a German regiment in hopes that such a sacrifice may help the Allied cause. He must convince the others, and one or two do not go along without some persuading. "I don't mind fighting and dying," one says, "but this is pointless." Well, that's the issue. How easy it is to find reasons NOT to stay behind and fight! Makes me appreciate the plight of our soldiers on Bataan and Wake Island, who had no choice. But this little band does stay and fight, and the story hangs on their decision.

My third point is a bit arcane, and has to do with Hollywood business practices of the 1940s. Bogart was, when this movie started production, about the biggest star in Hollywood. Remember, he had already made High Sierra," "The Maltese Falcon," and "Casablanca." Why then, did Warner Brothers lend him out to Columbia to do this picture? Columbia was still barely a second rank studio. What did they have to trade in return? Rita Hayworth? I don't think she made any films for Warners, but I may be wrong.

Lastly, it's interesting to note that Bogart, when he started his own company (Santana Productions) in the late 40s, signed a releasing deal with Columbia. I guess he must have been impressed with Columbia while making this picture, as well as "Dead Reckoning" (1947).

I strongly recommend "Sahara" to anyone who has not seen it. It's exciting action combined with interesting characterizations.

"Sahara" is a 1943 film starring Humphrey Bogart, directed by Zoltan Korda, and intended as a propaganda film during World War II. It succeeds.

Bogart is a Sgt. Joe Gunn, and after Tobruk falls in North Africa, he leads a tank unit into the desert. He's joined by French, South African, British, and Sudanese soldiers. They come up against a group of Germans that want the water well where the tanks are stationed.

Besides Bogart, the great cast includes Bruce Bennett. Lloyd Bridges, Dan Duryea and J. Carrol Naish, and they all do an exemplary job. What I like best about this film is the atmosphere - the sun beating down, the dryness, the filth - you're thirsty just watching it.

It was films like this that probably kept people in the U.S. going during the war, I imagine. World War II has been highly romanticized, but despite the pretty songs, there wasn't anything romantic about it. Since there are no women in this film, there's nothing romantic about "Sahara" either. Very good work.