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Patton (1970)

GP | | Biography, Drama, War | 2 April 1970 (USA)
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3:53 | Trailer
The World War II phase of the career of the controversial American general, George S. Patton.

Writers:

Francis Ford Coppola (screen story and screenplay), Edmund H. North (screen story and screenplay) | 2 more credits »
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Popularity
4,629 ( 500)
Won 7 Oscars. Another 16 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
George C. Scott ... General George S. Patton Jr.
Karl Malden ... General Omar N. Bradley
Stephen Young ... Captain Chester B. Hansen
Michael Strong ... Brigadier General Hobart Carver
Carey Loftin ... General Bradley's Driver (as Cary Loftin)
Albert Dumortier Albert Dumortier ... Moroccan Minister
Frank Latimore ... Lieutenant Colonel Henry Davenport
Morgan Paull ... Captain Richard N. Jenson
Karl Michael Vogler ... Field Marshal Erwin Rommel
Bill Hickman ... General Patton's Driver
Pat Zurica ... First Lieutenant Alexander Stiller (as Patrick J. Zurica)
James Edwards ... Sergeant William George Meeks
Lawrence Dobkin ... Colonel Gaston Bell
David Bauer ... Lieutenant Gen. Harry Buford
John Barrie ... Air Vice-Marshal Sir Arthur Coningham
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Storyline

"Patton" tells the tale of General George S. Patton, famous tank commander of World War II. The film begins with Patton's career in North Africa and progresses through the invasion of Europe and the fall of the Third Reich. Side plots also speak of Patton's numerous faults such his temper and tendency toward insubordination, faults that would prevent him from becoming the lead American general in the Normandy Invasion as well as to his being relieved as Occupation Commander of Germany. Written by Anthony Hughes <husnock31@hotmail.com>

Plot Summary | Plot Synopsis

Taglines:

Direct from its sensational reserved seat engagement.

Genres:

Biography | Drama | War

Certificate:

GP | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

USA

Language:

English | German | French | Russian | Arabic | Italian

Release Date:

2 April 1970 (USA) See more »

Also Known As:

A Salute to a Rebel See more »

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Box Office

Budget:

$12,000,000 (estimated)

Gross USA:

$61,749,765

Cumulative Worldwide Gross:

$61,749,765
See more on IMDbPro »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (70 mm prints) (Westrex Recording System)| Mono (35 mm prints)| DTS 70 mm (70 mm re-release)

Color:

Color

Aspect Ratio:

2.20 : 1
See full technical specs »
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Did You Know?

Trivia

The American, British and German tanks in the film are portrayed by postwar M24 Chaffee, M47 and M48 Patton tanks. See more »

Goofs

An M44 155mm self propelled howitzer is passed by Patton's staff car in France at one point. The M44, based on the M41 Walker Bulldog, did not enter production until 1953. See more »

Quotes

[first lines]
Patton: Now I want you to remember that no bastard ever won a war by dying for his country. He won it by making the other poor dumb bastard die for his country.
See more »

Crazy Credits

One of the very, very few Twentieth Century-Fox films in which that company's logo is not shown at all, beginning or end. The film simply begins with the opening speech, and the opening Fox logo is replaced with an in-credit text-only notice after the speech. However, recent television showings have added the logo (not on DVD prints), and the addition is obviously spliced in from another piece of film. See more »

Alternate Versions

The IMDb credits reflect those in a version of the film once broadcast by Cinemax and listed in the AFI Catalogue. Another version in letterbox format (once broadcast by AMC) omit and change some of the credits. Omitted are: credits for Alex Weldon, Joe Canutt and Pacific Title. Changed credits are all in the Sound Department, where Don J. Bassman, 'Theodore Soderberg', Murray Spivack and Douglas O. Williams are credited simply for 'sound." Whether this was a re-released version is uncertain. See more »

Connections

Spoofed in The King of Kong: A Fistful of Quarters (2007) See more »

Soundtracks

To the Colors
(uncredited)
Traditional bugle call used in lieu of the National Anthem. Played at the opening scene.
See more »

Frequently Asked Questions

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User Reviews

 
Epic hagiography
12 February 2005 | by rmax304823See all my reviews

It's a splendidly done movie. Scott's performance is powerful. He does everything but reach out, grab you by the shirt, and shout in your face. Karl Malden is likable and full of common sense, but he is the only person in the movie whom we can grasp as a character -- except for Scott himself. Scott is as good at his job as Patton was, and in fact the quality of his performance is less volatile than Patton's own, with virtually no weak spots.

That's part of the problem. Patton himself. I suppose that like most people he had a "good" side -- loving family, played with his dog, collected stamps and whatnot. But as good and aggressive a general as he was, he wasn't a particularly likable guy. It's easy to demand that everyone in your command have shoes as shiny as yours -- especially when you've got some black PFC doing your shining for you.

The movie is noticeably slanted. Patton's weakness, like Coriolanus's, is ambition. Sometimes it's played for laughs. He carried the stars of a Lieutenant General around with him until word of his promotion comes down, then immediately has them pinned on. But only three times is his meanness illustrated without tongue in cheek. (1) During a conversation with Bradley he reveals that he's disobeyed orders by sending his army on a mission to beat Montgomery in taking Sicily. He calls the attack "a reconnaissance in force". He receives an order to get his troops back where they belong and tells his aide to send the message back because it's garbled. "A simple old soldier," Bradly comments disapprovingly. (2) He orders General Truscott to stage some amphibious landings which will help him take Messina before Montgomery. Truscott complains that they're not prepared to do that without heavy casualties. Patton lies down and threatens to fire Truscott and get someone else to do the job. (3) While visiting a hospital and presenting the wounded with decorations he comes across a soldier whose nerves are shot and who is weeping, and Patton slaps him twice and sends him back to the front.

His mean streak went beyond those incidents. He used to practice his arrogant, threatening scowl in front of the mirror. Whether or not it improved the GI's morale to wear neckties in combat is, at best, arguable. (What would Patton make of the Israeli army?) But the simple historical fact is that the movie pitches even these "mean" incidents at the audience like softballs. He didn't just slap a soldier who was feeling sorry for himself, which is the picture the film presents. He slapped two soldiers on separate occasions, one suffering from combat fatigue (which is no joke) and the other from malaria and other illnesses. Patton also enjoyed an intimate relationship with his niece, a Red Cross donut girl, who accompanied him in England and France, much to his wife's displeasure.

Those slapping incidents cost Patton a bit in the way of professional esteem but it didn't cost any lives. And it didn't cause him any remorse. Even in his "apology," he claims he was trying to "shame a coward." What DID cost lives was Patton's cobbling together a small task force to liberate a POW camp in Germany shortly before the war's end, when such a dangerous move was no longer necessary. "Task Force Baum" was recognized by its leaders for the lost cause it was, a plunge deep into enemy territory without any backup. There were 53 vehicles and 294 men. All the vehicles were destroyed or captured. Twenty-five of the men were killed, 32 wounded, and almost all the rest captured. The purpose of the mission, it was tacitly agreed, was to rescue Patton's son-in-law.

His fitful harshness towards his troops is usually justified in the movie, even if it looks excessive. The soldier-slapping scene is preceded by one in which Patton kneels in the hospital, whispers something to a soldier whose face is covered by bandages, and lovingly places a medal on his chest. Next thing he encounters: Tim Considine, fully dressed, sitting up, and sobbing with self pity. Earlier, when Patton asks a cook why he's not wearing sidearms, the cook laughs genially and replies, "Sidearms? Why, hell, General, I'm a cook!" I missed the part where cooks learn to laugh in the face of orders from a general, but it gives Patton a chance to tear everybody a new one.

Everyone paid for Patton's ambition and vanity, even those not under his command. The gasoline and other supplies he diverted to his own forces during the run through France helped him alright, but they were also needed elsewhere.

The movie's subtitle is "Salute to a Rebel." Very stylish for 1970 audiences, but the material is presented in such a way as to leave us with a lingering admiration for Patton's genius and bullheadedness. What kind of "rebel" was he? He was more of an authoritarian Arschloch than anybody else in his greater vicinity.

What the writers, the director, and George C. Scott have given us, to paraphrase someone else, is not a warts-and-all portrait but the suggestion that there is something heroic about a wart.

I gave the movie high marks because it's as well done as it is -- disregarding its relationship to Patton himself. I didn't mind so much that the wrong tanks were used and that the production could only find two Heinkel 111s in flying condition. The location shooting is great, the cinematography crisp and unimpeachable, the score one of Goldsmith's best, and Scott's performance deserved whatever awards it got.


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