Film Friday: The Guns of Navarone (1961)

The Guns of Navarone is a fascinating movie, and not just because of what’s on the screen. Based on a book by Alistair MacLean, the film was written and produced as anti-Cold War propaganda by Carl Foreman, a member of the communist party, who was blacklisted in the United States. His intent apparently was to suggest to Western audiences that they not fight the Cold War. But like so many other liberal message films, his message backfired, and he ended up creating a rousing film that remains one of the stronger World War II movies.

** spoiler alert **

Navarone ostensibly is the story of a commando team that must infiltrate a fictional Nazi-occupied island in Greece and destroy a large rail gun so the British Navy can pass by the island to save 5,000 trapped British troops. As they do this, they are repeatedly faced with nasty choices, such as whether or not to kill one of their own when he gets wounded or to feed him false information knowing he will reveal the information under torture. They also encounter betrayal, cold-blooded murder, and cowardice.

More importantly, the three main characters struggle with each other. Capt. Mallory (Gregory Peck), an American, is tired of the war, but continues with his duty even though it seems hopeless to him. Andrea Stavros (Anthony Quinn), a former Colonel in the Greek army, fights to free his home. Corporal Miller (David Niven), a British explosives expert, is anti-war and revels in criticizing Mallory’s actions.

I say “ostensibly” because the film is actually a metaphor for the Cold War. If we see this film as Foreman intended, then we would notice the following: the Nazis, who stand in for the Soviets, are ruthless, efficient, and nearly omniscient. It is hopeless to fight them. Mallory, who represents Americans, is a stupid man who is only doing what he’s been told and has no idea why he’s fighting. Miller, who represents America’s allies, is worn out, cynical and ready to make America carry the load. He also manipulates Mallory into doing all the dirty deeds. And Stavros represents the people of third world countries who are dying on these misguided American missions.

But here’s the problem for Foreman. Leftist propaganda doesn’t sell. To make the movie profitable, the characters had to resolve their issues before they could move ahead. And in so doing, Foreman’s anti-war message morphs into a call for everyone to understand the importance of fighting, i.e. the reasons why the West did fight, and to grasp their importance to the fight. In effect, to draw an audience, he turns an anti-war screed into an incredibly strong pro-war film.

Indeed, as the characters reach the make or break moment, Mallory suddenly realizes why he’s fighting -- he needs to make this realization if he is to be able to continue the mission. He realizes that he is not fighting just a different ideology, but an evil ideology, and that he must succeed if he is to save the people who are relying on him. In other words, he learns that he is part of a bigger picture and what he does matters because people are relying on him.

What brings about this epiphany is his observation of the Greeks. Up to this point in the film, Mallory and Miller have been little more than tourists. They see the island as just another battleground and they pay no attention to the locals. But as they are brought into the lives of the locals, they come to realize what the Nazis have wrought upon this community and the lives they’ve destroyed. This particularly strikes Mallory when he realizes this war is a matter of life and death to Stavros, and that Stavros can’t simply quit the war and go back to his old life. He knew this, just as he knew that 5,000 soldiers and sailors would die if he failed, but his experience finally personalizes this for him.

It’s at this point that Mallory has enough of Miller’s constant harping and disclaiming of any responsibility. Miller has disavowed responsibility for everything that happened, and criticized Mallory at every turn, safe in the knowledge that Mallory would do his duty no matter how asinine Miller behaved. But now Mallory has his fill, and he delivers one of the most pro-war speeches you will ever hear in a film. Indeed, he berates Miller for trying to pretend that he is only an observer and he tells Miller “whether you like it or not, you’re in this thing, up to your neck.” He then demands that Miller finally carry his own weight. Shamed, Miller realizes that his cynical pacifism had been disloyalty bordering on sabotage.

Thus, what was meant to present an image of America adrift facing an invincible foe as worn-out, whiny, worthless allies harp at America from the sidelines, suddenly becomes a rousing pro-war statement declaring the importance of everyone working together to win this struggle to set the world free. Basically, Foreman’s anti-war film turned into a crystal clear statement of why everyone needed to do their duty.

This is one of the ironies of leftist propaganda films: they often backfire on their creators because the need to attract an audience requires certain elements that change the message of the film. In this case, had the characters surrendered to their cynicism, then there would be no doubt about the anti-war message of the film. . . but there wouldn’t have been an audience. Instead, the characters overcome the ideological confines placed upon them early in the film so they can try to end the movie successfully. And because of that, the “message” of defeatism actually gets converted from being the thing the audience was meant to take away from the film into the thing that must be beaten for a brighter future. And that's the exact opposite of what Foreman hoped to convey.

Whoops.

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