gerdeen-1 The U.S. armed forces were officially desegregated in 1948, and the Korean War (1950-1953) was the first modern conflict in which Americans of every heritage fought side by side. This less-than-spectacular GI movie -- albeit with a couple of big names -- is one of the few instances in which Hollywood has dealt with racial tensions in "America's Forgotten War."The story, set in the dead of a Korean winter, focuses on a squad of Marines holed up in a farmhouse behind Chinese lines. The two main characters are the unit's only black member (played by Sidney Poitier) and its oldest and most seasoned member (played by Alan Ladd). When the young black man finds himself thrust into command of his comrades, the white old-timer is resentful.Poitier and Ladd are the best part of the movie. These two pros have great "anti-chemistry." They play off each other superbly, portraying a mutual dislike that has a grudging undertone of respect. When "All the Young Men" was made, Ladd's star was sinking and Poitier's was rising, and that gives an added poignancy to their confrontation.Unfortunately, the movie doesn't give Ladd's character any identifiable racial motivation, however misguided. Instead, the sin of bigotry is embodied in a lone Marine, a stereotypical white Southerner (played by veteran TV villain Paul Richards). He's not just a racist, he's loathsome in every way. This is a cop-out. Institutionalized racism would never have lasted so long without the acquiescence or subtle support of many "decent" people.And speaking of cop-outs, why does a movie about racial issues give us a Korea almost devoid of Asians? The "Chinese" soldiers keep their faces covered. The main Korean character is played by an Argentine actress wearing Charlie Chan-style eye makeup. In 1960, this sort of thing should have been over. (Though the character sounds Latin American, the movie's explanation of her looks and accent is that she is half-French. The French presence in Korea was never very great, but apparently Hollywood was already starting to confuse Korea with Indochina.)I have to mention the motley crew of supporting characters. The casting is truly offbeat, with such non-actors as comedian Mort Sahl and boxing great Ingemar Johansson. James Darren is on hand to carry a rifle and sing a song, and even Johansson warbles a tune. The least believable scene in the film (and many are none too convincing) is when combat-weary Marines laugh themselves silly over Sahl's meandering monologue about bureaucracy and society. It's the kind of jabber that would put real Marines to sleep.Returning briefly to the issues of race and realism, the character of "Chief," who's supposed to be a Navajo Indian, is played by an actor who looks nothing like a Navajo. But at least he's not wearing eye makeup.

Spikeopath During the Korean War, up in the snowy mountains, a marine platoon is attacked and their lieutenant is killed. But just before he dies he places the platoon sergeant, Eddie Towler, in charge. Towler is black and has to get his men to safety amidst racial tension and constant in fighting.All The Young Men is a Saturday afternoon time filler of a movie. Not brilliant, but certainly not bad. Sidney Poitier takes the lead role as Towler and gives it his usual guts and emotional thunder. Alongside Poitier is Alan Ladd, who at 47 was coming to the end of his career. Now if one can cast aside that Ladd was a bit old to be bombing around the snow laden mountains, then his interplay with Poitier is actually very good. It certainly gives the character's edge, and thus keeps the picture being the character driven piece it's meant to be.This is no stock war film with blitzkrieg battles and dirty dozen like shenanigans, this is men holed up in a mountain station forced to win the battles amongst themselves in order to win the war. Nicely shot in stark black and white on location at the Glacier National Park, Montana, All The Young Men is very much a mood piece. Odd then that the makers shoehorn in some light relief courtesy of Mort Sahl's Corporal Crane. It's not Sahl's fault of course, but it doesn't sit right in context with the story. It's as if someone said to director and writer Hall Bartlett, you can't make an overtly bleak mood piece, put some fun in there!Still this was one I had a real good time with, partly because of its two lead actors and partly because of the locale. It's recommended on proviso that you expect character over action, oh yes sir. 7/10

prw-8 A film I had never heard of. Halliwell's film guide says a marine patrol in Korea is commanded by a black man and the racial tension take precedence over fighting the enemy.Simple-minded, parsimoniously budgeted war melodrama.Sidney Poitier is the Sergeant who is given command by the Lieutenant as he is dying.Alan Ladd is the most experienced but has no stripes. The first part of the film is setting the scene and they end up defending a house against faceless enemy who they machine gun and grenade by the score.Alan Ladd gets his leg crushed by a tank and they save him The patrol hold out long enough for them to be saved by their own side.Not much of a film and not one that you would bother seeing again. They spent too little on the story. It was a pity the great Shane ( Alan Ladd) was reduced to this. He rode off in the sunset after saving the town form the baddies just to end up being banal on a snow covered hill side in Korea.Sidney Poitier was rehearsing for his tough put upon black man roles.What do they call you boy ? They call me MISTER Tibbs !

Robert J. Maxwell There isn't really much to be said about this movie. Poitier gives the only good performance but nobody can be said to have come out of this effort with much pride. The cast is filled with non-actors, including a stand-up comic and an ex-prize fighter. The singing is done by non-singers, including the ex-prize fighter. And the song after which the film is named is not only sung poorly, it's poorly written. The production values are low. There are some nice outdoor shots towards the beginning, a snowy mountainous slope. The majority of the time is spent in a single indoor set. And some of the outdoor shots are thoughtlessly done -- here are these marines dug into the snow on a hill top and there is neither wind nor smoking breath. The obligatory woman is shoehorned into the plot, but fortunately doesn't act as anyone's love interest; she's there mainly to provide a target for attempted rape. The action scenes aren't bad but they conform to every convention in the book. The marines occupy an isolated post and must prevent the Reds from coming through the pass. They are attacked by about two dozen faceless extras, all of whom are slaughtered. They die like flies, building up a big body count. Our guys die one at a time, and always live long enough to utter a few last lines -- "Find that farmhouse and take it," or "Navahos shouldn't have to die in the snow." The humor is limited and is provided entirely by Mort Sahl in monologues and occasional wisecracks. Come to think of it, the whole thing reminds me a bit of a Sam Fuller movie, maybe "Fix Bayonets". What in-group tension there is, is provided by the competitive clash between Alan Ladd (looking too old for this kind of business, but he was a producer) and Sidney Poitier as the sgt. who inherits command of the unit. There is also a racist Southern redneck who wises up before the film ends. There is no sociopolitical content to speak of. All in all, it's not a hateful movie -- there's nothing disgraceful about it -- but you can probably find better ways to spend your time.