A group of men parachute into Japanese-occupied Burma with a dangerous and important mission: to locate and blow up a radar station. They accomplish this well enough, but when they try to rendezvous at an old air-strip to be taken back to their base, they find Japanese waiting for them, and they must make a long, difficult walk back through enemy-occupied jungle.
Errol Flynn Henry Hull George Tobias Anthony Caruso James Brown Richard Erdman Joel Allen John Alvin William Hudson George Tyne John Whitney William Prince Rodd Redwing Frank Tang Warner Anderson Mark Stevens Hugh Beaumont Erville Alderson Carlyle Blackwell Jr. Truman Bradley Tom Daly Lester Matthews
Operacja Birma, Objetivo: Birmania, Aventures en Birmanie, Der Held von Burma, Obiettivo Burma!, Junglens musketerer, Burma hadművelet, 反攻缅甸, Um Punhado de Bravos, Aventuras en Birmania, Цель - Бирма, Cilj: Burma!, 오브젝티브 버마, Objectiu Birmània, هدف، برمه!, Revansch i Burma
USA
New York City, New York
USANR
Denmark
Netherlands12
Brazil12
Brazil
Denmark
Netherlands
USA
“Objective, Burma!” fires a shot from across the ocean, but the ricochet can be heard all the way back on Main Street.
Directed by gangster and western pro Raoul Walsh, “Burma” plays out like a wartime blend of the genres. Walsh himself even acknowledged that the plot for the movie, about a band of Army Marauders on a prolonged raid behind enemy lines, mimics that of the Spencer Tracy Western, “Northwest Passage.”
“Burma” blasted into theatres exactly when the eye of the world was turning to the theatre where its portion of the war unfolds. If it was harder for small town Americans to fathom combat in the Southeast Asian jungles than the European beaches, Walsh reminds that hometown boys…
Você exibe e assiste Objective, Burma!, pega o ônibus de volta para casa como sempre faz após essas sessões e com menos de 100 metros do ônibus fora do terminal, fazendo o mesmo caminho de sempre, você percebe como seus olhos foram limpos de 180.000 toneladas de lixo pós-afetivo, conjuntural, pseudo-poético, pasteurizado, comezinho, culturalmente caucionado, esteticamente domesticado, programado geneticamente para apaziguar ou provocar (de uma forma ou de outra comover) salões culturais etc.
Nesse sentido Objective, Burma! é um filme-irmão de Sayat Nova, Chronik der Anna Magdalena Bach, Jeanne Dielman, Sanshô dayû, La vallée close, No Quarto da Vanda.
Mas o mais importante é perceber que esse asseamento do olhar nada mais é que reflexo, desdobramento, consequência de um movimento…
if you wanna know how to create a complete cinematic experience, watch this film -- you're totally immersed within a vividly-rendered environment: chopping through brush of trees and branches, the pools of water, insect buzzing, the military procedure, eating rations and taking medicine, the constant din of wildlife, close-ups of weaponry, tactical gestures by each individual soldier, the way james wong howe's high contrast cinematography turns the jungle into a legible-but-mysterious terrain of survival -- objective, burma! reminded me so much of mctiernan's predator as well as the early sections of metal gear solid 3; what matters most here is highly rigorous navigation and spatial orientation that dwells within these extended sequences without any musical score, it feels like silent…
The usual high production values here, as befits the 'quality man' Raoul Walsh. The set design is marvelous - the Burma jungle looks ravishing - and the special effects, especially the explosions, work on a quite realistic level.
The dedication on Walsh's part is evident. Objective, Burma's brutally honest and straightforward depiction of war leaves no room for sentimentalization, although it does take a deep dive in the well of almost chauvinistic patriotism, to the detriment of the movie. I get it, guys. I get that it was made in 1946 and the wound was fresh, but one thing about American war movies that absolutely makes my stomach churn is the bigoted glorification of American soldiers and the utter dehumanization…
Outside a versatile master craftsman that still leaves me confused as to why he's not better recognized in the same level of historical influence over filmmaking language on par with the likes of Ford; some would like to point Westerns and gangster thrillers pseudo-Noirs as the main area of expertise from Raoul Walsh playground of work.
Nothing wrong with that actually, but I would like to add there War cinema as well where Walsh was already making the stuff that later likes of Sam Fuller nowadays get better recognized for (and rightfully so) in its gritty, naturalist 'boots on the ground' austere depiction of battlefield, so you can pretty much say that he definetely set the stage for future influences…
Ó CAMINHO DE VIDA NUNCA CERTO, por Jorge Silva Melo.
Objective, Burma!, 1945: é o paradigma do filme de guerra centrado no cumprimento de uma missão e baseado na sua árdua execução. Uns pára-quedistas têm que destruir uma estação nipônica e deveriam, depois, ser repescados de avião. Só que não se pode aterrar - e “a meio do caminho das suas vidas”, aqueles homens vão errar “na selva escura”, por entre “grandes e gravíssimos perigos”, “tanta guerra, tanto engano”, tanto pântano e riacho, nunca certo que está o “caminho da vida”.
Como?... Dante e Camões para falar deste filme em louvor do esforço militar americano na Birmânia que até oculta a participação inglesa (e assim foi proibido no Reino Unido…
The fact that so many reviewers here hastily dismiss the film as anti-Japanese propaganda based on the ending scroll (that states ”… the evil forces of Japan”) only proves that the visual literacy of the average audience member goes no further than the written word. Of course, it’s not exactly pro-Japanese either, but anybody with two functioning eyeballs can see how the Japanese, even in close-ups, are never depicted as an inferior culture or abnormal race, but simply another group of soldiers, complete with their own tactics, procedures, and methods. In fact, the entire film is effectively about such tactics, procedures, and methods. No other classical Hollywood director except for Walsh had such a fixation on the process by which…
“Oh, we won't forget you, Pop. From now on, if I ever get to buy another newspaper, I'll remember what a few cents can buy. So long.” - Capt. Nelson
Part of me will always like Errol Flynn best as the smirking, roguish swashbuckler. But in this dark and epic WWII adventure he effortlessly carries the dramatic weight of the movie on his (broad) shoulders. While Michael Curtiz might have been the director who best captured Errol Flynn the movie star, Raoul Walsh was probably the one who challenged him most as an actor. And Flynn certainly rose to the challenge. The film was criticized at the time and even banned in the UK until the 1950s for being historically…
Filmed almost entirely on the paltry 125 acres of the LA County Arboretum: mise-en-scene as logistics and mechanics.
It never achieves the poetry of John Ford’s They Were Expendable (also 1945), but I’ve always been fond of this WWII-era war film. Loosely based on the real-life events that later inspired Sam Fuller’s Merrill’s Marauders, it tells the story of an airborne company dropped behind enemy lines in order to destroy a Japanese radar station ahead of the Allied invasion of Burma. They accomplish that task quickly, but Japanese patrols cut off their route of escape sooner than anticipated. Can they be rescued at all?
In arguably his best-ever performance (with the possible exception of That Forsythe Woman), Errol Flynn plays the company commander. In contrast to Jeff Chandler in Fuller’s version, Flynn maintains a gentle rapport with his…
Pode parecer um tanto tosco dizer que “a selva é o personagem principal”, porém esse filme é um dos poucos em que uma frase como essa possui certo sentido. Pois é através dessa mata; lugar extremamente vivo com seus sons e imprevistos, podendo significar tanto a salvação (esconderijo) como a danação (ocultação do inimigo); que Walsh cria os dramas psicológicos desses personagens, que há a contemplação do “nada” (um nada que contém a culminação dos gestos, o desgaste, a loucura), que o tempo e o silêncio tomam vida. É um dos raros casos em que o ambiente parece conter o filme; que o ritmo, a decupagem e os enquadramentos servem à paisagem.
No mais, acho que esse trecho resume bem:…
SINOPSE:
Há dois anos o general Stilwell foi expulso de Birmânia pelos japoneses, bloqueando, assim, a rota dos americanos para a China. O exército ativamente se prepara para reconquistar o território. No prelúdio da ação, um grupo de soldados, liderados pelo capitão Nelson, é lançado de paraquedas para a floresta. Eles têm a missão de destruir uma estação de radar localizada fora de área de bombardeio. Um jornalista, Marks Williams, acompanha os homens. Ele é muito mais velho que os soldados e está saltando de paraquedas pela primeira vez em sua vida. O grupo ataca a estação de surpresa, dizima os soldados japoneses que estavam descansando e explodem TNTs por toda a instalação. A primeira parte da missão, um sucesso…
