Tagged: U.S. Army
Hogan’s Heroes: Colonel Hogan’s USAAF Flight Jacket and Crusher Cap
Bob Crane on Hogan’s Heroes (1965-1971)
Vitals
Bob Crane as Robert E. Hogan, resourceful U.S. Army Air Forces Colonel
“Stalag Luft 13” near Hammelburg, Germany, Winter 1945
Series: Hogan’s Heroes
Created by: Bernard Fein & Albert S. Ruddy
Costume Design: Reeder P. Boss, Ray Harp, and Marjorie Wahl
Background
Hogan’s Heroes debuted sixty years ago today on September 17, 1965 with a black-and-white pilot episode, followed by 167 episodes in full color. Debuting twenty years after the end of World War II, the series twisted the typical POW formula as 1) a comedy in which 2) the Allied characters showed no actual desire to escape from their imprisonment. As the titular Colonel Robert E. Hogan (Bob Crane) explains to one of his “heroes” in the first-season finale, “we’re not just ordinary POWs, we’re here on a mission. Our orders are very plain: assist Allied prisoners to escape, and sabotage the enemy wherever possible.” Continue reading
Glory: Colonel Robert Gould Shaw’s Union Army Uniform
Matthew Broderick as Col. Robert Gould Shaw in Glory (1989)
Vitals
Matthew Broderick as Col. Robert Gould Shaw, Union Army officer
Civil War-era America, Fall 1862 through Summer 1863
Film: Glory
Release Date: December 15, 1989
Director: Edward Zwick
Costume Designer: Francine Jamison-Tanchuck
WARNING! Spoilers ahead!
Background
Memorial Day honors military personnel of the United States Armed Forces who died during their service. The Department of Veterans Affairs credits the holiday’s origins with Mary Ann Williams, who was widowed during the American Civil War, and the resulting holiday was known as “Decoration Day” when it was first proclaimed by Major General John A. Logan on May 30, 1868. Logan originally intended the holiday to honor Union soldiers and officers who had died during the Civil War, but the scope expanded to recognize all members of the U.S. military who had fought and died in service. On the 100th year of the observance in 1968, Congress standardized the timing to align with the last Monday in May.
Last spring, my wife and I traveled the nearly 200 miles east to Gettysburg—my first time visiting the historic city and battlefield since I was a child—which reinvigorated my interest in this destructive period in history. Combined with the origins of Memorial Day following the devastation of the Civil War, it feels appropriate to honor the true story at the heart of Glory, Edward Zwick’s Oscar-winning drama about the 54th Massachusetts Infantry Regiment—one of the first Black regiments organized by the Union Army.
Glory follows the regiment’s real-life commanding officer, Colonel Robert Gould Shaw (Matthew Broderick), from his service during the bloody Battle of Antietam in September 1862 through his assignment to lead the 54th and leading the regiment into battle against the considerable Confederate defenses of Charleston Harbor, culminating with the 54th’s heavy losses during the culminating Second Battle of Fort Wagner on July 18, 1863. Born to an abolitionist Bostonian family, the 26-year-old Shaw increasingly supports equal treatment and pay for the troops under his command.
The real Col. Robert Gould Shaw (1837-1863) and his screen counterpart, portrayed by Matthew Broderick in Glory.
Apocalypse Now: Martin Sheen’s Tiger Stripe Camouflage as Captain Willard
Martin Sheen in Apocalypse Now (1979). Photo by Steve Schapiro/Corbis.
Vitals
Martin Sheen as Captain Benjamin L. Willard, U.S. Army Special Forces officer
South Vietnam to Cambodia, Summer 1969
Film: Apocalypse Now
Release Date: August 15, 1979
Director: Francis Ford Coppola
Costume Supervisor: Charles E. James
Costumers: Luster Bayless, Norman A. Burza, Dennis Fill, and George L. Little
Background
Francis Ford Coppola’s controversial war epic Apocalypse Now was first released 45 years ago today on August 15, 1979.
Shooting had started more than three years earlier in March 1976 with an initial plan to release on Coppola’s 38th birthday, April 7, 1977, but the production was delayed by logistics problems, unpredictable weather, and personnel issues ranging from Marlon Brando’s mercurial temperament and Martin Sheen’s stress-induced heart attack to grave-robbers attempting to sell actual human corpses to the production.
“We were in the jungle, there were too many of us, we had access to too much money, too much equipment, and little by little we went insane,” Coppola recalled in an interview used to begin the 1991 documentary Hearts of Darkness: A Filmmaker’s Apocalypse that chronicled the film’s troubled production.
After filming wrapped in May 1977 (more than one month after the original intended release date), Coppola busied himself on editing over a million feet of film as the already bloated budget continued to swell and the released date was pushed farther ahead. Coppola debuted the work-in-progress at the 1979 Cannes Film Festival, where it was met with prolonged applause and was awarded the Palme d’Or.
Three months later, the freshly completed Apocalypse Now finally landed in North American theaters, albeit only three at first—the Ziegield in New York City, the Cinerama Dome in L.A., and the University Theatre in Toronto—until it would be released in over 300 more theaters by October. The $9 million spent on advertising increased the final total budget to $45 million… considerably higher than the $2 million that Coppola, John Milius, and George Lucas had estimated to spend on it back in 1971.
The project had dated back even four years before that to 1967, when Lucas and Steven Spielberg had told Coppola’s then-assistant Milius to write a film about the ongoing war in Vietnam. Following Coppola’s direction to “write every scene you ever wanted to go into that movie,” Milius ultimately wrote ten drafts that blended contemporary anecdotes around the Vietnam War with allegorical inspiration from Joseph Conrad’s 1899 novella Heart of Darkness. Once Coppola took over directorial control from Lucas, he also incorporated elements from Werner Herzog’s 1972 epic Aguirre, the Wrath of God and the legend of the Fisher King.
The story that emerged on screen centered around U.S. Army Captain Benjamin L. Willard (Martin Sheen), a troubled but talented paratrooper dispatched by the Studies and Operations Group (MACV-SOG) to assassinate the renegade Walter E. Kurtz (Marlon Brando), a power-mad colonel ruthlessly commanding a rogue force of American, Montagnard, and local Khmer militia troops who view him as a demigod. Without the four-person crew being aware of his classified mission, Captain Willard joins a U.S. Navy patrol boat that takes him up the Nùng River to Kurtz’s outpost at a Khmer temple in Cambodia, where he has been ordered to “terminate the Colonel’s command… with extreme prejudice.” Continue reading
MASH: Donald Sutherland as Hawkeye
Donald Sutherland as Captain “Hawkeye” Pierce in M*A*S*H (1970)
Vitals
Donald Sutherland as Capt. Benjamin Franklin “Hawkeye” Pierce, U.S. Army surgeon
Korea, Summer 1951 through Winter 1952
Film: M*A*S*H
Release Date: January 25, 1970
Director: Robert Altman
Background
Today would have been the 89th birthday of Donald Sutherland, the prolific and versatile Canadian actor who died last month at the age of 88. Born July 17, 1935 in New Brunswick, Sutherland rose to prominence as a steady supporting player through the ’60s—perhaps most notably in The Dirty Dozen (1967)—before his first major starring role in yet another war film, M*A*S*H (1970), adapted by screenwriter Ring Lardner Jr. from Richard Hooker’s novel MASH: A Novel of Three Army Doctors. (The popularity of the film resulted in the eventual development of a TV show—starring Alan Alda as Hawkeye—that ran for nearly four times as long as Korean War hostilities.)
Set during the Korean War, M*A*S*H centered around around the irreverent Army doctor Captain Benjamin Franklin “Hawkeye” Pierce during his tenure at the 4077th Mobile Army Surgical Hospital. He’s assisted in his hard-drinking hijinks by fellow surgeons “Trapper John” McIntyre (Elliott Gould), Duke Forrest (Tom Skeritt), dentist “The Painless Pole” Waldowski (John Schuck), and former football star “Spearchucker” Jones (Fred Williamson), all while battling the uptight majors Frank Burns (Robert Duvall) and “Hot Lips” Houlihan (Sally Kellerman).
At one point, Major Houlihan asks the compound chaplain Father “Dago Red” Mulcahy (René Auberjonois) how “a degenerated person like [Hawkeye] could have reached a position of responsibility in the Army Medical Corps!” to which Mulcahy simply responds, “He was drafted.”
Sutherland’s Golden Globe-nominated performance established him as a star as his career ascended through the ’70s with starring roles in Klute (1971), Don’t Look Now (1973), Invasion of the Body Snatchers (1978), and Ordinary People (1980) while also continuing to provide memorable supporting appearances in movies like Little Murders (1971), 1900 (1976), and Animal House (1978).
What’d He Wear?
Apropos his rebellious attitude, Donald Sutherland’s Hawkeye never presents himself in a perfect example of a U.S. Army uniform, instead mixing regulation gear with personal accoutrements that craft a distinctively irreverent look. Continue reading
The Longest Day: John Wayne’s M1942 Jump Uniform as Benjamin Vandervoort
John Wayne as Lt. Col. Benjamin H. Vandervoort in The Longest Day (1962)
Vitals
John Wayne as Lieutenant Colonel Benjamin H. Vandervoort, commanding officer of 2nd Battalion, 505th Parachute Infantry Regiment, 82nd Airborne Division, U.S. Army
England to France, June 1944
Film: The Longest Day
Release Date: September 25, 1962
Directed by: Ken Annakin (British & French sequences), Andrew Marton (American sequences), and Bernhard Wicki (German sequences)
Wardrobe: John McCorry (uncredited)
Background
Eighty years ago today on June 6, 1944—a date immortalized as “D-Day”—the Allies began landing hundreds of thousands of troops in Nazi-occupied France, laying the foundation for liberating the continent and ending the European theater of World War II within the year.
D-Day often conjures images of daring Allied troops storming the beaches at Normandy under heavy German gunfire, but there were many other elements within Operation Neptune, from aerial and naval bombardments and local resistance operations to the airborne invasion preceding the famous amphibious assault.
Irish-born war correspondent Cornelius Ryan captured all of these aspects when he published The Longest Day, his definitive chronicle of D-Day pulled from his firsthand experience during World War II and his own exhaustive research to follow. Three years after the book was published in 1959, Ryan co-adapted his volume into an epic film that would pull together a wide international cast and crew, with Ken Annakin directing the sequences among the British and French, Andrew Marton directing the American sequences, and Bernhard Wicki directing the sequences from a German perspective. Actual D-Day participants from both the Allied and Axis powers served as consultants for the film, which also starred a number of World War II veterans like Eddie Albert, Henry Fonda, Kenneth More, Rod Steiger, and Richard Todd.
The Longest Day was a commercial and critical success, garnering five Academy Award nominations and setting a then-record as the highest-grossing black-and-white film to date. Among its star-studded cast was John Wayne, portraying the real-life 82nd Airborne parartooper Lieutenant Colonel Benjamin H. “Vandy” Vandervoort (1917-1990). Though Duke was nearly 30 years older than the real Vandervoort, his ruggedly macho screen persona instantly communicated Vandy’s reputation among no less than General Matthew B. Ridgway, who described the officer as “one of the bravest, toughest battle commanders I ever knew.”
The real Lt. Col. Benjamin H. Vandervoort during Operation Overlord in June 1944, with the broken left ankle that didn’t stop him from leading his battalion in defending Ste.-Mère-Église.
A Bridge Too Far: James Caan’s M-1943 Combat Uniform as Staff Sergeant Dohun
James Caan in A Bridge Too Far (1977)
Vitals
James Caan as Staff Sergeant Eddie Dohun, determined U.S. Army paratrooper
Holland, Fall 1944
Film: A Bridge Too Far
Release Date: June 15, 1977
Director: Richard Attenborough
Costume Designer: Anthony Mendleson
Background
Established in the United States after the Civil War, Memorial Day honors the memory of American military personnel who died during their service. This year takes on additional poignancy as the 80th anniversary of many pivotal World War II campaigns that cost American lives, from D-Day to the Battle of the Bulge.
My great-uncle, Sergeant Joe Kordas, was among these fallen troops when he was killed in action on October 4, 1944 while serving in Holland with the 82nd Airborne. As I was born 45 years later, I naturally never had the opportunity to meet my uncle, but his memory is among those I honor on Memorial Day.
My understanding is that Uncle Joe was part of the 82nd Airborne Division’s fourth and final combat jump, parachuting into Holland in September 1944 as part of Operation Market Garden. This Allied offensive was designed to create an invasion route into the Netherlands as a combined force of American and British airborne forces (“Market”) would seize nine bridges, which British land forces (“Garden”) would then follow over. The largest airborne operation of the war to that point, Operation Market Garden was not an Allied victory and criticized by one of its planners as attempting to take “a bridge too far,” a phrase borrowed by historian Cornelius Ryan for his 1974 volume of the operation that was subsequently adapted for the screen by William Goldman.
More than a decade after he starred in his own star-studded World War II screen epic, The Great Escape, Richard Attenborough was again behind the camera for A Bridge Too Far, his third directorial feature. Chronicling the operation from the American, British, Polish, Dutch, and German points of view, A Bridge Too Far boasted a talented international cast including—but certainly not limited to—Dirk Bogarde, Michael Caine, Sean Connery, Edward Fox, Elliott Gould, Anthony Hopkins, Gene Hackman, Hardy Krüger, Laurence Olivier, Ryan O’Neal, Robert Redford, Maximilian Schell, and Liv Ullmann.
Most of this cast played real-life figures or composites of them, with one of my favorite performances being James Caan’s portrayal of Staff Sergeant Eddie Dohun, a noncommissioned officer in the 101st Airborne based on the real-life Sergeant Charles J. Dohun, to the extent that A Bridge Too Far was the first of Caan’s films I chose to rewatch after learning of the actor’s death in July 2022. Continue reading
Apocalypse Now: Robert Duvall as Colonel Kilgore
Robert Duvall as Lieutenant Colonel Bill Kilgore in Apocalypse Now (1979)
Vitals
Robert Duvall as Lieutenant Colonel Bill Kilgore, U.S. Army Air Cavalry commander and surf fanatic
Vietnam, Summer 1969
Film: Apocalypse Now
Release Date: August 15, 1979
Director: Francis Ford Coppola
Costume Supervisor: Charles E. James
Costumers: Luster Bayless, Norman A. Burza, Dennis Fill, and George L. Little
Background
Happy 90th birthday, Robert Duvall! Today’s post looks at one of the most recognizable roles from the actor’s prolific career, his Academy Award-nominated performance as the gung-ho surf enthusiast Colonel Kilgore in Coppola’s war epic Apocalypse Now.
Loosely based on Joseph Conrad’s you-probably-had-to-read-it-in-high-school novella Heart of Darkness, Apocalypse Now needs little introduction, nor does Kilgore’s famous monologue celebrating the aromas of incendiary devices after commanding his 9th Cavalry squadron to attack a VC-held village to the tune of Wagner’s “Ride of the Valkyries”.
Elliott Gould’s Aloha Shirt as Trapper John in MASH
Elliott Gould as Captain “Trapper John” McIntyre in M*A*S*H (1970)
Vitals
Elliott Gould as Capt. “Trapper John” McIntyre, irreverent U.S. Army chest surgeon
Korea, Summer 1951
Film: M*A*S*H
Release Date: January 25, 1970
Director: Robert Altman
Background
Before there was Magnum, there was M*A*S*H, in which Elliott Gould set the “Gould standard” for effectively pairing a prolific mustache with an Aloha shirt. Robert Altman’s film was based on the then-recently published MASH: A Novel of Three Army Doctors by Richard Hooker, which would in turn be adapted into a long-running TV series that would last almost four times as long as the Korean War itself.
While maverick Army doctor “Hawkeye” Pierce was arguably the central figure (and increasingly the show’s moral fiber, under Alan Alda’s creative direction), I was also fond of his cinematic sidekick, Captain “Trapper John” McIntyre as portrayed by Elliott Gould, born 82 years ago today on August 29, 1938.
White Christmas: Captain Wallace on Christmas Eve 1944
Bing Crosby is joined by an exuberant Danny Kaye in White Christmas (1954)
Vitals
Bing Crosby as Bob Wallace, U.S. Army captain and popular entertainer
European Theater, Christmas Eve 1944
Film: White Christmas
Release Date: October 14, 1954
Director: Michael Curtiz
Costume Designer: Edith Head
Background
Merry Christmas Eve! The prologue of perennial holiday cinema classic White Christmas begins exactly 75 years ago today, Christmas Eve 1944, as the title card tells us…
Private First Class Phil Davis is proudly assisting Captain Bob Wallace, evidently a known entertainer on par with Al Jolson, Bob Hope, Jack Benny, or—um—Bing Crosby, as they host a “yuletide clambake” for the men of the fictitious 151st Division, providing the type of entertainment that Davis boasts would cost $6.60 or even $8.80 stateside. Continue reading
Gary Cooper’s Aviator Uniform in Wings (1927)
Gary Cooper as Cadet White in Wings (1927)
Vitals
Gary Cooper as Cadet White, U.S. Army Aviation Section, Signal Corps aviator
Camp Kelly (San Antonio, Texas), Spring 1917
Film: Wings
Release Date: August 12, 1927
Director: William A. Wellman
Costume Design: Travis Banton & Edith Head (uncredited)
Background
Ninety years ago today, Wings won the first Academy Award for Best Picture—more accurately, the award read “Academy Award for Outstanding Picture.” Though silent movies were still the norm at the time of Wings’ release in August 1927, The Jazz Singer introduced recorded sound to film upon its release two months later, and Wings remains the only true silent film (unless you include The Artist) to take home the Best Picture prize.
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