Plot
During World War II, a Marine battalion prepares to land on a large Japanese-held island in the Pacific. Lieutenant Colonel Gilfillan (Richard Boone) warns the men that it will be a tough mission, and that they have been ordered to take prisoners in order to gain information about the Japanese fortifications. Below deck, veteran Lieutenant Carl A. Anderson (Richard Widmark), a chemistry teacher in civilian life, questions his former student, Corporal Stuart Conroy (Richard Hylton), who complains that he is ill and cannot fight. Anderson assures him that he has shown courage before and can do so again. In the landing boat heading to shore, Navy corpsman C. E. "Doc" Jones (Karl Malden) is worried because Anderson has been suffering from "psychological migraines" for months. Anderson and his platoon have been fighting since Guadalcanal, and now only seven men remain of the original platoon. Although Doc urged Anderson to seek treatment in the United States, Anderson refuses to leave his men and has been relying on Doc to supply him with painkillers.
The men hit the beach and successfully dig in, despite an initial burst of resistance. As four days pass, the seven old timers in Anderson's platoon, including Pigeon Lane (Jack Palance), Sergeant Zelenko (Neville Brand), Slattery (Bert Freed), Coffman (Robert Wagner), and the unstable "Pretty Boy" Riley (Skip Homeier), grow weary of the constant threat of hidden Japanese snipers. One day, the men try to take a ridge of hills, but are beaten back by Japanese rockets, which come as an unpleasant surprise to the commanding officers. When Coffman (who Anderson saved from drowning at Tarawa) is killed, Anderson is forced to take some more of Doc's pills.
Anderson meets with other officers at battalion headquarters, where Gilfillan recounts the troubles they are having capturing prisoners and getting information from them. Sergeant Randolph Johnson (Reginald Gardiner), a Japanese linguist who uses psychology in interrogating prisoners, questions a POW who has been dubbed "Willie." As Gilfillan receives orders to stop the rockets within nine hours, before the next assault on the hills, Willie informs Johnson that the Japanese soldiers holding a cave stronghold are willing to surrender. Accompanied by Johnson and war correspondent Sergeant Dickerman (Jack Webb), Anderson leads a patrol to the cave, but they are ambushed and Zelenko is blinded.
The men capture the remaining Japanese, including a wounded officer, four laborers and a shell-shocked, elderly civilian. Anderson finds a map on the wounded officer. On the return trip, a sniper shoots at Pretty Boy, who kills him during hand-to-hand combat. The confrontation further unbalances him and he attempts to murder the prisoners. Lane then accidentally shoots and kills Pretty Boy while attempting to stop him. Doc also dies, but not before giving Dickerman a message for Anderson.
Anderson takes his prisoners to headquarters, where the wounded officer commits hara-kiri with a knife he had stolen from Johnson. While map expert Lieutenant Butterfield works on a Japanese map overlay found in Pretty Boy's personal effects, Anderson and Johnson learn that one of the POWs is actually an important officer pretending to be a private. From his prideful statements, Johnson deduces where the rockets are located. Anderson learns that Conroy has been killed. Anderson takes the news hard and is ready to give up. Dickerman reads aloud Doc's note, however, and Anderson, inspired by Doc's appeal for him to be strong for the sake of those whom he survives, throws away his painkillers and again leads his men into battle. Then, as the film closes, U.S. Corsairs fly in and smash the Japanese position, leading Anderson to scream to his men, "GIVE 'EM HELL" whiich they echo in unison.
Read more about this topic: Halls Of Montezuma (film)
Famous quotes containing the word plot:
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)