That was an excellent one.

Expected more

It's an amazing and heartbreaking story.

One of the most extraordinary films you will see this year. Take that as you want.

Directed by Richard Thorpe, with a screenplay by Paul Osborn that was based on the play by Allan Kenward, this nearly all female cast war drama tells the harrowing story of thirteen women on Bataan during World War II just prior to its being overrun by Japanese forces in 1942.Led by two veteran nurses, Lieutenant Mary Smith 'Smitty' (Margaret Sullavan) and Captain Alice Marsh (Fay Bainter), nine novice (e.g. only first aid expertise) volunteers receive on-the-job training (and quinine) to do the best they can to assist the officers with the continuous supply of American G.I. casualties on this precarious peninsula in the Philippine Islands. Connie Gilchrist, who plays the steady cook with a dry wit Sadie, and Marsha Hunt, who plays an already trained civilian that's calm and reasoned under all circumstances, Flo Norris, are the other two women.The volunteers are streetwise Pat Conlin (Ann Sothern), former burlesque stripper Grace Lambert (Joan Blondell), fashion writer from a wealthy family Connie Booth (Ella Raines), attractive brunette Helen Domeret (Frances Gifford), Alabama southern belle with an eye for the "boys" Nydia Joyce (Diana Lewis), virtually invisible Steve Polden (Gloria Grafton), local Luisita Esperito (Fely Franquelli), Andra West (Heather Angel) and her younger sister Sue (Dorothy Morris). Robert Mitchum appears briefly, and uncredited (like all the other characters), as a groaning soldier. References are made to General MacArthur, Corregidor, and President Truman's order to evacuate which supersedes MacArthur's to dig in.Though the film contains a few (unimpressive and requisite) action sequences, the story primarily takes place in the women's bunker, where they sleep and eat; there are a couple of scenes in the outer office of a never seen Lieutenant Thomas Holt (Addison Randall, uncredited does appear with field glasses covering his face near the very beginning), where a communications switchboard is operated by the women. Most of the scenes involve the women talking about their lives, the war, and its effect on themselves, their emotions, and each other.Young Sue West talks about the simplicity of the situation (e.g. what's at stake): if they enemy wins, "we" die; she even says "if one of us dies, all of us will". She's the first to be lost in the first of the ever present air raid(s); she's later found, having lived trapped for four days among dead soldiers in a collapsed structure, such that she's pretty much a shell shocked basket case from then on. Her older sister Andra ends up being the second one to go missing, but later returns to triumphantly tout that she'd shot down an enemy plane when her anti-aircraft gunner "boyfriend" let her "man" the controls.Connie, who'd initially been the biggest "fish out of water" and the most scared of the enemy's continuous bombing raid poundings, ends up growing a spine when a soldier dies in her arms such that she's the first to say she'll stay to the fateful end when the volunteers are given the opportunity (an hour into the film) to participate in a last chance evacuation. Ironically, she's the first to really die when she's strafed while swimming by an opportunistic Japanese pilot. It's also inferred that the enemy intentionally bombed the hospital. Helen, who initially expresses interest in Lieutenant Holt, is a calming influence and a voice of reason among the women while Grace, who laughingly tries to distract everybody's maudlin outlook by demonstrating her striptease act, says some things she shouldn't when her leg is wounded (an injury that magically disappears later).The film's main subplot is relational, and it involves Smitty and Pat. Captain Marsh appears only briefly in a few scenes, including one at the beginning which is confusing until the end and one near the film's conclusion when she (somehow) appears in the bunker just before the voice of the enemy is heard outside. Pat has eyes for Lieutenant Holt, with whom (off-screen) she flirts incessantly to no avail. She's aware the Smitty is also interested in the Lieutenant, but doesn't see the seemingly all business, serious, and even homely nurse as much competition.But Smitty has two secrets: not only is she suffering from malignant malaria (her Captain had wanted to evacuate her to better doctors in Australia even before the volunteers had arrived) but, as a civilian nurse, she'd married Lieutenant Holt; she's able to keep both of these facts from the others until (late in the film) she has an attack and reveals them to Flo, who then relates them to Pat. The film's final scene, after the bunker had been vacated by the others, with their hands above their heads, under orders from an unseen yet English speaking Japanese invader, shows these two women coming to terms with (respect for) one another.

Margaret Sullavan made only sixteen movies. This is her second last. The none-too-interesting plot is built around army nurses on Bataan. At 97 minutes, it runs a little too long, but it's competently directed by journeyman Richard Thorpe and imaginatively photographed by Karl Freund. On the other hand, screenwriter Paul Osborn makes almost no attempt to disguise the film's origins in a stage play. Almost the whole of the movie's action is confined to a one-room dug-out. True, there are actually two or three cinematic forays into the outside world to accommodate a bit of action (put across with rapid tracking shots), but director Thorpe is content to play along with the stage groupings in the dug-out. Although obviously dated, the movie is comparatively restrained in its patriotic flag-waving. The cast is sound, but embarrassing propaganda in long takes and flat, medium shots, make this journey a somewhat weary 97 minutes.

What a pleasure it is to see such an amazing cast of women put together in one film. Today we are lucky to get more than 2 women in a film unless we get a comic book movie. This cast has almost as diverse a cast of good women actresses as any movie I have seen.This is a stage play made into a movie about army nurses dealing with the Japanese invasion of Bataan. Thank goodness it does not go to the conquest as I can not imagine a group of women and what would have happened to them if an invader got to plunder them.This film deals with the desperate and the more desperate situation as the invader gets closer and closer.There are a few men, most notably a dying sequence by an uncredited Robert Mitchum but for the most part the ladies coping with the war and with each other are the subject here. There is very little love interest and more concern about the demands being put on the nurses in the situation. Sometimes even their faces get grim and dirt.The reason this ensemble is only together for this one film is the war effort. Margaret Sullivan only had 21 acting roles in her career and one of these ladies only had 4 roles in her career. Others like Blondell had lots more screen time. The screen play base makes this one solid. The war propaganda effort made it possible to put this cast together. A real one of a kind film from the MGM studios.

CRY HAVOC follows in the tradition of films like SO PROUDLY WE HAIL by dealing exclusively with nurses in the Philippines on active duty during WWII. MARGARET SULLAVAN is the lieutenant in charge of a group of gals including ANN SOTHERN, ELLA RAINES, FRANCES GIFFORD and JOAN BLONDELL, all of whom are inexperienced but have to learn the ropes fast during wartime bombardments.Based on a play, it barely shows its stage origins and presents a gritty story of nurses under stress doing the best they can under dire circumstances. MARGARET SULLAVAN and FAY BAINTER fret over having to deal with "wet-nosed kids" (as Sullavan calls them), all of them eventually becoming battle hardened after working conditions continually put them in harm's way. Watch for ROBERT MITCHUM in a brief unbilled bit as a dying soldier.Sullavan and Sothern argue over Sothern's infatuation for a man Sullavan loves and there's some trite dialog among the all-female cast when they get to exchange stories--but it's still an above average melodrama of women nurses during war.Summing up: Worth it for the gritty wartime bombardments and interesting cast, but don't expect anything great. Richard Thorpe's direction keeps the pace steadfast without too many lulls until the downbeat ending.