Hell in the Pacific is directed by John Boorman and stars Lee Marvin and Toshirō Mifune. It's written by Reuben Bercovitch, Alexander Jacobs & Eric Bercovici and the music is by Lalo Schifrin. During World War II, two men, one American and one Japanese, are marooned on an uninhabited Pacific island. In order for them to survive they must find away to co-exist and maybe, just maybe, forget the War and find a way off the island.
Intriguing premise and two watchable stars not withstanding, Hell In The Pacific is not a particularly great film. Decent? Yes! But the novelty value of a two actor piece, with sparse dialogue, soon wears thin. The central idea of two racially different characters forced to come together, is hardly a new one. It's been done considerably better before this film with the likes of The Defiant Ones in 1958. But Boorman's movie does not lack for invention or trying to veer from the norm. Neither character speaks the other's language, so with no dubbing or subtitles, the viewers are forced to be part of the unique situation; sharing in the frustrations of two people unable to communicate verbally. That both Mifune & Marvin are fine actors physically and with their faces, also benefits the piece and the viewers. With both men ex-servicemen of their respective countries also a notable plus point.
The film was entirely shot in the Rock Islands of Palau in the north Pacific Ocean, near the Philippines in the Philippine Sea. Visually it is a treat with the blues and greens offering up a beauty that battles the harsh like atmosphere for supremacy. It's impact being that of throwing up a heaven and hell comparison. Yet this pleasing aspect of the film is almost ruined by Schifrin's score. In a piece awash with loneliness, suspicion and borderline hatred, we really don't need evocative and perky, we want threatening and sedate. Which brings us to Boorman's direction, which is choppy and unsure what tones work best within the story. It's no surprise to find that the producers wanted to fire him off the project; his bacon saved by Mifune's insistence that Boorman stayed on. There is also some consternation with the ending(s) of the film, where both available endings have actually caused disapproval in equal measure. In truth neither ending fully rewards the viewer for having spent over 100 minutes with these two men. But for the record I personally like the "abrupt" one better.
Its intentions are honourable, and for trying something different it deserves a pat on the back. But too many itches exist within; and thus the film is scratchy and never able to achieve allegorical greatness. 6/10
Intriguing premise and two watchable stars not withstanding, Hell In The Pacific is not a particularly great film. Decent? Yes! But the novelty value of a two actor piece, with sparse dialogue, soon wears thin. The central idea of two racially different characters forced to come together, is hardly a new one. It's been done considerably better before this film with the likes of The Defiant Ones in 1958. But Boorman's movie does not lack for invention or trying to veer from the norm. Neither character speaks the other's language, so with no dubbing or subtitles, the viewers are forced to be part of the unique situation; sharing in the frustrations of two people unable to communicate verbally. That both Mifune & Marvin are fine actors physically and with their faces, also benefits the piece and the viewers. With both men ex-servicemen of their respective countries also a notable plus point.
The film was entirely shot in the Rock Islands of Palau in the north Pacific Ocean, near the Philippines in the Philippine Sea. Visually it is a treat with the blues and greens offering up a beauty that battles the harsh like atmosphere for supremacy. It's impact being that of throwing up a heaven and hell comparison. Yet this pleasing aspect of the film is almost ruined by Schifrin's score. In a piece awash with loneliness, suspicion and borderline hatred, we really don't need evocative and perky, we want threatening and sedate. Which brings us to Boorman's direction, which is choppy and unsure what tones work best within the story. It's no surprise to find that the producers wanted to fire him off the project; his bacon saved by Mifune's insistence that Boorman stayed on. There is also some consternation with the ending(s) of the film, where both available endings have actually caused disapproval in equal measure. In truth neither ending fully rewards the viewer for having spent over 100 minutes with these two men. But for the record I personally like the "abrupt" one better.
Its intentions are honourable, and for trying something different it deserves a pat on the back. But too many itches exist within; and thus the film is scratchy and never able to achieve allegorical greatness. 6/10