Scanialara You won't be disappointed!

Pluskylang Great Film overall

HeadlinesExotic Boring

Ezmae Chang This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

LeonLouisRicci Another Movie Directed by the Overrated John Sturgess, this is Another Example of the Stiff, Pedestrian, and Wooden Style that Permeated His Pictures. Some of His Films were Popular but were Mostly Driven by "Star Status", like the Great Escape (1963) and The Magnificent Seven (1960). Both those Films are Above Average but Hardly Deserve their Elevated Status as "Classics".This has One Stodgy Scene after Another, the Movie Barely Moves and the Highlights are the Technicolor Cinemascope Postcard Images and some Good, Interesting Dialog. Anne Francis is a Stunning Beauty but doesn't do much, Cornel Wilde is a Dashing Swordsman but is Robotic if Interested most of the time, but the Standout Performance is Michael Wilding as the Central Character of the Piece Maj. John Andre.The Benedict Arnold Hook is Background and this may have the most Unexciting Action Sequences in a War Film Ever. George Sanders is a Slimy, Sharp-Tongued Heavy and is the Second most Interesting Character on Screen. Overall, Worth a Watch but the Film is so Boring it does No Justice to Any of the People, Time, or Place.

drjgardner Although Cornel Wilde gets top billing as an American double agent, the true star of this film is Major John Andre (Michael Wilding), the British officer who was captured as a spy and hanged for his plot with Benedict Arnold to betray West Point. Unfortunately the acting is wooden by almost everyone, so a good story and some interesting moral dilemmas are hard to hit home.My one and only favorite American Revolution film is John Ford's classic "Drums Along the Mohawk" (1939). "The Crossing" (2000) runs a distant second. Most of the rest, like "The Devil's Disciple" (1959), "The Howards of Virginia" (1940), and "John Paul Jones" (1959) are merely OK and some, like The Patriot" (2000) and "Revolution" (1985) are just plain silly. The Disney "Ben and Me" (1953) is entertaining and historically accurate (forgetting the mouse). The TV mini-series "The Adams Chronicles" (1976). "The Revolution" (2006), and "John Adams" (2008) are probably one of the best sources about the period. If you like Pre Revolution 18th Century American history, Michael Mann's breath-taking "Last of the Mohicans" (1992) is a great film from this period, as is King Vidor's "Northwest Passage" (1940).

DKosty123 John Sturges is a good director & this film shows it. Presented as real History though, I am afraid that some of the story is a bit skewed to fit the cast, & the script enhanced a bit to create better drama. Still, Sturges brings a solid story to the fore & the camera work on the film is quite stunning. Karl Tunberg's script is well envisioned by the director.Cornel Wilde's Major John Boulton is a very solid character, a revolutionary whose mission is to spy on the British convincing them he is a Tory & report back to General Washington. He forms a friendship that is quite compelling with Major John Andre (Michael Wilding). Both men are in love with Sally Cameron (Anne Francis) which is the triangle the story is built around.Where it doesn't ring true is in how good & ethical these people are. While there is some factual basis, I think Tunberg has made these people saints and comparison with their real historic counter parts is in name only. Still this drama is quite a compelling telling of the treason of Benedict Arnold (Robert Douglas). It plays well for the viewer and is very much worth a look.

theowinthrop I was glad to see that THE SCARLET COAT, after being absent from television for many years, has begun showing up on cable - usually on TURNER NETWORK. It is one of those films that I have referred to elsewhere that once was shown pretty frequently but then vanished from the small screen.It is not as well recalled as other films about the Revolution - many of which are inferior. People recall 1776 for the solid musical underneath it.They remember THE DEVIL'S DESCIPLE for Laurence Olivier's excellent (and fun) performance as General Burgoyne, and for the good work of his co-stars Burt Lancaster and Kirk Douglas. But they remember THE HOWARDS OF VIRGINIA, a dull film from the early 1940s that may be the most mediocre performance in Cary Grant's career. Except for 1776 the other two films have stars in them (1776 had some good character actors, William Daniel as John Adams - repeating his stage performance fortunately - and Howard De Silva as Ben Franklin - even in the small role of Edward Rutledge there is John Cullum singing that fascinating economic lecture "Mollasses to Rum to Slave".). So it goes with all of the other films - Griffith's America does have a diabolic performance of Lionel Barrymore as Walter Butler, the Tory. LAFAYETTE has Orson Welles portraying Ben Franklin (oddly enough nobody thought of making the musical BEN FRANKLIN IN Paris into a film - with Robert Preston in the lead as on Broadway). Robert Stack starred as JOHN PAUL JONES (a movie sunk by a wooden, lifeless script). Even Al Pacino could not save REVOLUTION. As for Mel Gibson's THE PATRIOT, it collapses in his desire to show sadistic British incidents which never happened (if a British Cavalry officer had burned down an Anglican Church with it's parishioners inside in the South in 1780, King George III - who took his being head of the Anglican Church seriously - would have had that officer hung!). A sad list - fortunately there is 1776 and DRUMS ALONG THE MOHAWK and THE SCARLET COAT.The conspiracy of Benedict Arnold - Sir Henry Clinton - and Major John Andre is a subject that has only appeared in two movies - and oddly enough both were good. One is the comedy THE TIME OF THEIR LIVES, where Abbott and Costello link their colonial characters to the fate of Arnold's local co-conspirators. However, only the first twenty minutes of the film deal with the conspiracy at all (though the plot hinges on clearing Costello's name of treason charges). THE SCARLET COAT is a solid dramatic treat, and wisely concentrates on the real tragic hero in the story: Major John Andre. Yes, he was a spy, and had he succeeded American history would have been part of the British Empire for at least another century (Arnold was selling more than control of West Point and the Hudson - Washington and his staff were scheduled to be there on the day the trap would have been sprung). But unlike Arnold (whatever blows he unfairly received after doing such marvelous service for the American cause up to 1777) Andre never betrayed his country - he was fighting for his king and homeland, and thought he was in the right. Michael Wilding makes this point very eloquently in the film's court-martial scene. As a result, the viewer's sympathies (as well as those of Cornell Wilde's character, and all the other characters in the film) remain with the Major even unto death. It is interesting to note that in the 19th Century the Arnold Conspiracy did remain the subject of American drama - but the play that held the boards was not named "Arnold" but "Andre". He couldn't be saved but we still regret what happened to him.And then there is this 1955 film.