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Patton: The Sublime Anachronism
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George C. Scott as General George S. Patton
In honor of all those veterans who have served this country in war and peace, we recall everyone’s favorite war film, Franklin J. Shaffner’s Patton. Released in 1970, the film became an instant classic. A film for all persuasions; Patton is popular no matter what your politics. The Hawks loved George C. Scott’s bigger than life hero with his pro-war posturing and anti- communist sentiments and Doves loved what they perceived as the film’s ultimate ant-war message. If ever an actor was born for a part, this is it.
The Germans called him the Grossartiger Anachronismus, the Sublime Anachronism; a sixteenth century man trapped in the 20th century. General George S. “blood and Guts.” Patton was perhaps America’s most unconventional warrior. He was extremely religious, frequently spouting scripture, yet outrageously profane, even for a soldier. He paraded around carrying two ivory handled six-guns. He acted tough, but was also a sensitive poet who was capable of crying like a baby. A Christian, he was a firm believer in reincarnation with a profound sense of déjà vu; convinced he was present in many times and guises throughout history, in battles in ancient Rome and Carthage.
Francis Ford Coppola and Edmund H. North have created a first rate screenplay based on two books: Patton: Ordeal and Triumph by Ladislas Farago and A Soldier's Story by General Omar Bradley (played by Karl Malden). The story starts as Patton takes over beleaguered US forces in North Africa and ends up whipping the legendary Erwin “Desert Fox” Rommel. Turning to Sicily he manages to out maneuver another “prima donna” and supreme egoist, British General “Monty” Montgomery and beat him to Messina. Patton is undone when he is sacked for crassly slapping a shell-shocked patient, accusing him of cowardice. He is unceremoniously sent to England and put in command of “dummy” divisions to disguise Allied invasion plans; this time his mouth gets him into trouble when he leaves out the Soviets in a speech on the makeup of post war government. Only after the Allied advance is bogged down in a hard fought winter campaign, is he put back in command of the Third Army to rescue troops surrounded in the Battle of the Bulge. Weeks after Allied victory, he is fatally injured in, of all things, a freak auto accident.
Master film composer Jerry Goldsmith uses all the instruments to create a haunting yet powerful score. He opens the film with a quiet hymn-like melody played on the organ which is then overwhelmed by horns and full orchestra. Cinematographer Fred Koenekamp uses the 70 mm widescreen format to provide some of the most extraordinary combat footage ever, with one of the great battle montages of winter carnage, which is beautifully and ironically crafted around a pastor’s prayer for fair weather for battle.
Patton received an impressive ten Academy Awards nominations, winning seven major awards: Best Picture, Best Actor (Which Scott refused), Best Director (Franklin J. Schaffner), Best Story and Screenplay (Francis Ford Coppola and Edmund H. North), Best Art Direction/Set Decoration, Best Sound, and Best Film Editing. The film was also nominated for: Best Cinematography, Best Original Score (Jerry Goldsmith), and Best Special Visual Effects.
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