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In a film of ravishing nuance, Richard Attenborough captures the horrors or war and the dignity of those who must endure, soldiers and civilians alike. The stellar cast of “A Bridge Too Far” (a veritable who’s who of acting greats) sets this film apart. Sean Connery leaves tedious the chilly assuredness of Bond and faces futility with a mug of tea while Anthony Hopkins, a superb Englishman in Hell, surrenders with dignity, only reluctantly accepting chocolate from the enemy. James Caan is a particular standout. With fair American grit, he bends all the rules and makes qualified on a pledge. The scale of the film could have wrought disasters on par with the campaign it portrays. Fortunately, the immensity of the Market-Garden campaign, which historically met its Waterloo at Arnhem, doesn’t swallow up the stories of individual characters, of the Brit with umbrella for instance or the Dutch resisters who observe for the Allies.
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Few World War II flicks showcase the absolute beauty of the European countryside. In “A Bridge Too Far,” the landscape, made all the more picturesque in its incompatibility to the gore and destruction, is certainly an additional star and supports the wisdom of shooting this expensive sage in the Netherlands. The wide-angle come, as well as the arresting procure, give balm to eyes and ears now accustomed to the tortorous naturalism of “Saving Private Ryan.” Attenborough pulls support, thankfully. In its final scene, “A Bridge Too Far” achieves poignance without dialogue, without bluster, and without the approved procedure of summoning tears with half-baked, insipid bathos. Sir Lawrence Olivier and Liv Ullman examine straight ahead, the novel graves of British paratroopers lining their path from an elegance destroyed, from an order and faith utterly shattered. The scene is perfection. And the film itself is finish to it.
Cornelius Ryan’s nonfiction saga is masterfully told in the film adaptation. MARKET GARDEN, hoped to be one of the death blows to the German Reich, was gallant and ambitious, but failed to bounce the Rhine and bring the war to conclusion. Locations in the Netherlands included the exact Nijmegen Bridge, plunge zones outside of Oosterbeek (which is next to Arnhem), the Deventer Bridge closely doubling as the bridge at Arnhem, and many scenes filmed at the Dutch Infantry training center at nearby Harskamp. Producer Joseph E. Levine and Director Richard Attenborough drew equipment from numerous nations, including quite a few museum relics, to construct this film. What they did not have, special effects and props departments created in order to build a realistic and mostly historically factual rendition of this September 1944 battle in Holland. Where the film deviates from the book is that the movie tends to paint the Allied planners as blind to the possible flaws in the operation and German Field Marshal Model is portrayed as a cowardly fool. In reality, Model’s immediate actions, though based on improper assumptions, greatly contributed to the containment of the Airhead north of the Neder Rijn. A BRIDGE TO FAR ranks highly with films like THE LONGEST DAY and SAVING PRIVATE RYAN in terms of intensity and historical accuracy.
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