U.S. Army General Douglas MacArthur is about to return to the Philippines as he promised before the Japanese ran him off. In 1944, an amphibious Navy aircraft lands a Marine commando force near the island of Luzon, and they paddle ashore to obtain valuable information from a source deep within enemy territory. As First Sgt. Steve Corey, Hugh O'Brien of "The Brass Legend" is tough-as-nails, and Mickey Rooney is no slouch as career Gunnery Sgt. Ernest Wartell who totes around a .45 caliber Thompson submachine gun almost as big as he is. The youngest member of the unit is Private First Class James Grenier (Jim Mitchum of "Moonrunners") who has never seen combat. It doesn't take long for Sgt. Corey and Pfc. Grenier to get to dislike each other. Corey makes it clean in no uncertain terms that Grenier is supposed to cradle the radio set that is their life-line to Allied command. Indeed, Grenier is the member of the team is chosen at the last minute to fill in the regular guy. He provides the voice-over narration that introduces us to the commando team at the beginning of the film and concludes it at the end of the movie.
Our grim-faced gyrene heroes in camouflage fatigues learn from their contact, Miyazaki (Tisa Chang of "Year of the Dragon") that the Japanese have prepared an unusual minefield for the U.S. Navy. These mines are radio controlled and are anchored to the bottom of the bay. They are released and rise to the surface to blow up whatever they come into contact with. Grenier loses his radio with which he was entrusted. They have no way of contacting the Admiral Halsey's task force and MacArthur plans to land in 48 hours! Consequently, "Ambush Bay" is a thriller with a deadline. Instead, Corey and Grenier have to slip into the Japanese base, shoot their way into the radio control room and detonate the mines. Naturally, tough guy Corey keeps the enemy at bay with a 50. caliber, tripod-mounted machine gun from the roof of the installation.
Altogether, everybody dies except Grenier. Rooney has an amusing death scene. The Japanese find him sitting by a tree and threaten to kill him if he doesn't ante up information about himself and his cronies. He produces two hand grenades and invites them to dinner. He tells them that he will share his "potatoes" with them and they can have them with "the jackets on" and then hurls them at the Japanese as they beat a quick retreat. "Ambush Bay" is nothing special as far as behind-enemy-lines combat movies go. Essentially, this is a traditional war movie. The Americans are good guys, and the Japanese--who shoot women in cold blood--are the bad guys. Good performances, standard-issue heroics and lots of green scenery keep "Ambush Bay" from being too dreary. Incidentally, no sooner do our heroes immerse themselves in combat than their officer is attacked by a Japanese soldier and stabbed to death. This is a traditional World War II movie because the Americans aren't trying to kill their leaders like they did in "Tawara Beachhead" or "Attack."
Composer Richard LaSalle's orchestral soundtrack sounds as if he listened to Malcolm Arnold's music "The Bridge on the River Kwai" because LaSalle incorporate a similar melody. No, I'm not talking about Colonel Bogey's march. Scenarists Marve Feinberg and Ib Melchior have penned a screenplay that amounts to an anthology of clichés. "Ambush Bay" represents Feinberg's only screenplay, while Melchior earned a reputation writing sci-fi films such as "Robin Crusoe on Mars," "Angry Red Planet," and "Journey to the Seventh Planet."
Our grim-faced gyrene heroes in camouflage fatigues learn from their contact, Miyazaki (Tisa Chang of "Year of the Dragon") that the Japanese have prepared an unusual minefield for the U.S. Navy. These mines are radio controlled and are anchored to the bottom of the bay. They are released and rise to the surface to blow up whatever they come into contact with. Grenier loses his radio with which he was entrusted. They have no way of contacting the Admiral Halsey's task force and MacArthur plans to land in 48 hours! Consequently, "Ambush Bay" is a thriller with a deadline. Instead, Corey and Grenier have to slip into the Japanese base, shoot their way into the radio control room and detonate the mines. Naturally, tough guy Corey keeps the enemy at bay with a 50. caliber, tripod-mounted machine gun from the roof of the installation.
Altogether, everybody dies except Grenier. Rooney has an amusing death scene. The Japanese find him sitting by a tree and threaten to kill him if he doesn't ante up information about himself and his cronies. He produces two hand grenades and invites them to dinner. He tells them that he will share his "potatoes" with them and they can have them with "the jackets on" and then hurls them at the Japanese as they beat a quick retreat. "Ambush Bay" is nothing special as far as behind-enemy-lines combat movies go. Essentially, this is a traditional war movie. The Americans are good guys, and the Japanese--who shoot women in cold blood--are the bad guys. Good performances, standard-issue heroics and lots of green scenery keep "Ambush Bay" from being too dreary. Incidentally, no sooner do our heroes immerse themselves in combat than their officer is attacked by a Japanese soldier and stabbed to death. This is a traditional World War II movie because the Americans aren't trying to kill their leaders like they did in "Tawara Beachhead" or "Attack."
Composer Richard LaSalle's orchestral soundtrack sounds as if he listened to Malcolm Arnold's music "The Bridge on the River Kwai" because LaSalle incorporate a similar melody. No, I'm not talking about Colonel Bogey's march. Scenarists Marve Feinberg and Ib Melchior have penned a screenplay that amounts to an anthology of clichés. "Ambush Bay" represents Feinberg's only screenplay, while Melchior earned a reputation writing sci-fi films such as "Robin Crusoe on Mars," "Angry Red Planet," and "Journey to the Seventh Planet."