Patton(in Hollywood Movies) Patton (1970) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Patton on your mobile, tablets and ipads
Plot: "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. Runtime: 172 mins Release Date: 01 Apr 1970
The best comment on this film was made by my father. This was the last movie he saw in a theater. He had served under Patton in WW2 and said that Scott had nailed Patton's character and mannerisms so perfectly that halfway through the opening speech, he expected Scott/Patton to look down and say, "[email protected]%#[email protected], Sears, get a haircut - your hair's too &#%#$%@ long!"
A fine tribute to a great patriot and fearless warrior (by tim.riley)
I am a fan of both General Patton and the movie that captured a portion of his duty in WWII. It exposes Patton's incredible strengths and vulnerabilities. George C. Scott gives one of his best performances. It leaves the viewer with the impression that Patton unnecessarily risked GI lives to "make a bigger splash" with his peers and the media. Statistics show that his aggressive "hold 'em by the nose and kick 'em in the ass" strategy actually resulted in lower casualties. Watched in conjunction with "The Big Red One" and "Saving Private <more>
Ryan" gives one an initial sense of the horror and sacrifice in the European Theatre. As a mini-biography, as an introduction to WWII, as a lesson in leadership under tremendous adversity or just for pure inspiration, Patton is one of the great films of my lifetime.
Not much can be said of this movie that already hasn't been said. It captures the war, the man, and the conflict of the two. I thought the movie was very nicely tied together and I thought the reflections of Patton on the past was very necessary. Patton believed in reincarnation so in looking back at historical battles you can see how Patton developed his strategy. He was a student of great leaders and commanders and the movie developed that thought really well. The movie presented the characters, the actual war history, and the Germans extremely well and it is no wonder this movie <more>
received the awards it did. After watching this movie over and over again, I'm convinced that no one could have played Patton any better than George C. Scott. You can tell from the movie that he put everything he had into the character. My father-in-law was an officer under Patton in the 3rd. Army and has said over and again how realistic the movie is. I would recommend this movie to anyone looking for an excellent re-telling of WWII history.
Fascinating portrait of the Allies' greatest general (by Danimal-7)
A few years ago, I had the pleasure of reading "The Patton Papers," a collection of Gen. Patton's diary entries and letters edited by Martin Blumenson. Having seen the movie, I think that no actor has ever better captured the spirit of a man better than George C. Scott, nor has any movie better portrayed that spirit than PATTON.Patton was a man who lived for war. World War II was the high point and culmination of his life. He didn't fight for any principles, he didn't fight to defend freedom or democracy or any abstract idea; he fought because he loved fighting. In his <more>
diaries you can read of his fear of flunking out of West Point; the prospect terrified him because he was certain that he would never be good at anything except being a general or a leader of a country. As a leader of men, he was exceptional. His speech at the beginning of the movie is vintage Patton, an almost exact reproduction of a speech Patton actually gave to Third Army. It's tough, and no-nonsense; Patton lets you know in no uncertain terms that he is here to win, to destroy the enemy, and by God you'd better be too. I don't know if Patton actually directed traffic on the roads as he is shown doing in the movie, but it was a very Pattonish thing to do. Patton did on at least one occasion get out of his staff car and join a squad of G.I.'s in heaving a vehicle out of the mud. Try to imagine Montgomery doing that; the very thought is hilarious!Patton's character explains his treatment of his men. To those who had been wounded fighting for him he was always kind and considerate. But to those whose minds could not stand the horrible strain that war imposed on them, he was merciless; he could not comprehend the fact that other people didn't share his love of violence for violence' sake. PATTON shows this aspect of his character very well.Karl Malden's Omar Bradley is shown in an almost father-like role; he sees and recognizes Patton's immense talents as a general, and uses them in spite of Patton's natural ability to antagonize everybody around him. Not shown in the movie is Patton's unloveable characteristic of turning on his subordinates once they surpassed him in their careers. Patton had nothing but good to say about Bradley, until Bradley was promoted over Patton's head, whereupon Patton savaged Bradley in his diary. Patton did the same to Eisenhower.A general can have no higher compliment than the fear and respect of his adversaries, and as PATTON demonstrates, Patton was more feared by the Germans than any other Allied general, at least on the Western front. As one German officer observes all too prophetically, "the absence of war will destroy him [Patton]." And although mankind's single greatest stroke of good fortune in the 20th century was that Russia and America never came to blows, it is still hard not to feel sorry for Patton as he desperately seeks his superiors' approval to carry the war on eastward into the Soviet Union - anything, just to have a war to fight. Patton is like an addict to a destructive drug.Hollywood has rarely given us such a textured and human portrait of a great man: cruel, often foolish in his relations with others, rude, and psychopathically attached to violence, but brave, dedicated, and loyal. Certainly those who, like myself, have Jewish blood, or who were otherwise marked for death by the Nazi state, all owe him a great debt of gratitude for his pivotal role in destroying that state. And yet, had he been born German, Patton would surely have fought just as devotedly for the Nazi side. I'm glad he wasn't.Rating: **** out of ****.
Scott Delivers Memorable Performance (by ccthemovieman-1)
This is a long but interesting character study of a real-life person: General George S. Patton, who also was a real "character." Gen. Patton was one of the most famous military men of World War II, a super gung-ho leader who admittedly had an intense passion for battle. How much of this story is fact and how much is fiction, I don't know. Knowing Hollywood and knowing when this was made - during the heyday of the anti-war Vietnam movement - I have my suspicions, but for the sake of the review, I will assume all of this is true.Whatever political bias a filmmaker might have, <more>
Patton made for a good movie subject anyway and the story is interesting all the way, thanks to the acting of George C. Scott, who was astounding as Patton and gives one of the more memorable performances ever by an actor.Not only is Scott's acting superb, the widescreen photography is also good. Thank goodness DVDs came out so films like this could be seen in the aspect in which they were filmed. I can't imagine viewing this on formatted-to-TV images. I think much of this movie was filmed in Spain.I think the filmmakers also did a nice job of not overdoing the action scenes. When overdone, violence can get boring. The explosions and machine-gun fire was realistic, especially for a film that is now 36 years old. Going back to what's true and what isn't, if it was then Patton was a poor excuse for a Christian, which he claims to be here. For one thing, Christians don't believe in re-incarnation at Patton claims he did in the film. There are other comments, too, which shed a poor light on his "religion," something Hollywood loves to point out.Nonetheless, if you enjoy character studies, this is one of the best. Patton's opening 6-minute speech before this huge American flag is a famous scene in movie history. That, and the rest of his performance and this movie in general, is one you won't forget.
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 <more>
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.
. . . and it's not even about the war. There's no wall to wall action. In fact, World War II is merely the setting a backdrop so to speak and the battles are all downplayed in favor of giving the audience a glimpse into the brilliance or insanity of the historically significant character, Patton. From the script on up, everything plays out wonderfully to bring the famous general to life on screen, and after watching George C. Scott deliver his Oscar-worthy performance, I find it hard to believe there were a number of actors on the list above his name.George C. Scott's <more>
performance of Patton is one I consider the greatest given of any war film. Patton is a champion for freedom while sometimes equally as much of a tyrant as the ones he's trying to put down, he's a monster and a hero, and neither he nor the filmmakers give a damn about political correctness. I found the character to be an overly harsh prick, myself, but in some strange way, very likeable and sympathetic, and when watching the movie again I don't look at the screen and say, `Hey, there's George C. Scott.' Instead it's, `Hey, there's Patton.' Not very many film characters have a personality strong enough to overtake the actor playing them. I appreciate that depth and that degree of realism, this attention to detail on the parts of Scott and Schaffner. Schaffner surprised me by somehow managing to capture my interest on a subject matter I'd ordinarily write off as too silly Planet of the Apes ; two years later, he applied that same technical know how, craft, and intelligent storytelling towards a film whose subject appeals to me from the get go, and once again I'm impressed. There are some great war films out today; however, Schaffner's take pursued the most unique perspective in all realms, and captured my imagination with such ease . . . I can't help but come back to it over other war films.And I have to comment on the score, which is not only one of my favorite Goldsmith scores but also one of my favorite war-film scores. Jerry Goldsmith matched point for point the brilliance of Franklin Schaffner's vision, the depth of George C. Scott's performance, and somehow managed to captured the essence of both musically. A good music score is one that tells the story of the film in its own unique voice. Goldsmith's score has such a prominent voice in the experience of Patton, that to remove it would be the equivalent of removing Schaffner's direction or George C. Scott. Lastly, how accurate is the film? Not a clue, and even if it is completely false, I don't care. I've never been about writing history papers based on cinema experiences. All I know for certain is that Patton is a very entertaining and well balanced movie that holds up very well thirty years later, and it's a film that can be admired for its craft.
Spoilers herein.Scott understood that this was not a film about a simple character, which is why he was attracted to it and others turned it down, unsophisticated actors like John Wayne and Robert Mitchum.He knew that this was an opportunity for an actor to play a man who was playing a role - a role that was foreordained because he had played this role in past lives.He knew that it was not about the man, but most viewers will not. The DVD has a commentary, in fact, by the president of some Patton appreciation society who fawningly prattles on in a parody of patriotism.Scott knew that is was <more>
not even about himself as an actor, which is why he refused his Oscar. It was about stepping into the cloak of echos, of animistic determinism, of Persian notions of self. It was about visiting borrowed beings and using them to destroy borrowers of lesser beings. It was about acting as life and life as a command performance. That?s why we first see him performing on a stage.Jerry Goldsmith, who did the score, was also tuned in to this. Check out his Patton theme. Echos. All of Schaffner's films have this subtext.Ted?s Evaluation -- 2 of 4: Has some interesting elements.
The pros: George C. Scott's performance of Patton is second only to his job in "Dr. Strangelove," the first scene is a classic, Rommel is very good, the ending is very poignant, the music is perfect, and the cinematography is beautiful. This is a film that must be viewed in the letterbox version! The cons: it is one hour too long, the friendship between Patton and Bradley seems forced and artificial, and the battle scenes are often confused and uncoordinated. Karl Malden is not right for the part. The middle act goes in too many directions at the same time. It is worth seeing <more>
mainly for George C. Scott and the photography. 7 out of 10.