In Love and War (1958)

107 or 111 mins | Drama | November 1958

Director:

Philip Dunne

Writer:

Edward Anhalt

Producer:

Jerry Wald

Cinematographer:

Leo Tover

Production Designers:

Lyle Wheeler, George Davis

Production Company:

Jerry Wald Productions, Inc.
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HISTORY

The working titles of this picture were The Big War and The Hell Raisers . According to a 22 Nov 1957 HR news item, Anthony Franciosa and Don Murray were scheduled to co-star in the film with Suzy Parker. Some location filming took place around Monterey, CA, according to a Jun 1958 HR news item. An Aug 1958 LAT news item adds that the studio had originally hoped to film on the island of Formosa. In Love and War marked the screen debuts of Veronica Cartwright and comedian Mort Sahl. According to the Var review, the role of "Danny" was specifically written for Sahl. According to a Jun 1959 LAEx news item, Twentieth Century-Fox was planning to use the title The Hell Raisers , which was the working title for In Love and War , for a film about the Boxer Rebellion. That film was released in 1962 as 55 Days in Peking ... More Less

The working titles of this picture were The Big War and The Hell Raisers . According to a 22 Nov 1957 HR news item, Anthony Franciosa and Don Murray were scheduled to co-star in the film with Suzy Parker. Some location filming took place around Monterey, CA, according to a Jun 1958 HR news item. An Aug 1958 LAT news item adds that the studio had originally hoped to film on the island of Formosa. In Love and War marked the screen debuts of Veronica Cartwright and comedian Mort Sahl. According to the Var review, the role of "Danny" was specifically written for Sahl. According to a Jun 1959 LAEx news item, Twentieth Century-Fox was planning to use the title The Hell Raisers , which was the working title for In Love and War , for a film about the Boxer Rebellion. That film was released in 1962 as 55 Days in Peking . More Less

GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
3 Nov 1958.
---
Daily Variety
29 Oct 58
p. 3.
Film Daily
30 Oct 58
p. 6.
Hollywood Reporter
22 Nov 1957.
---
Hollywood Reporter
11 Feb 58
p. 6.
Hollywood Reporter
20 Jun 58
p. 8.
Hollywood Reporter
23 Jun 58
p. 4.
Hollywood Reporter
26 Jun 58
p. 6.
Hollywood Reporter
17 Jul 58
p. 4.
Hollywood Reporter
15 Aug 58
p. 8.
Hollywood Reporter
29 Oct 58
p. 3.
Los Angeles Examiner
29 Jun 1959.
---
Los Angeles Times
20 Aug 1958.
---
Motion Picture Herald Product Digest
1 Nov 58
p. 36.
New York Times
1 Nov 58
p. 14.
Variety
29 Oct 58
p. 6.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Asst dir
PRODUCER
Prod
WRITER
PHOTOGRAPHY
Dir of photog
Cam op
Asst cam
Asst cam
Process cam
Asst to process cam
Stills
Gaffer
Best boy
Best boy
Elec
ART DIRECTORS
Art dir
Art dir
FILM EDITOR
SET DECORATORS
Set dec
Set dec
Props
COSTUMES
Exec ward des
Cost des
DANCE
Choreog
MAKEUP
Makeup
Makeup
Hair styles
Hair dresser
PRODUCTION MISC
Unit prod mgr
Scr supv
Generator
Auditor
COLOR PERSONNEL
Col consultant
SOURCES
LITERARY
Based on the novel The Big War by Anton Myrer (New York, 1957).
AUTHOR
DETAILS
Alternate Titles:
The Big War
The Hell Raisers
Release Date:
November 1958
Premiere Information:
New York opening: 31 October 1958
Production Date:
late June--mid August 1958
Copyright Claimant:
Twentieth Century-Fox Film Corp. and Jerry Wald Productions, Inc.
Copyright Date:
29 October 1958
Copyright Number:
LP12721
Physical Properties:
Sound
Westrex Sound Recording
Color
De Luxe
Widescreen/ratio
CinemaScope
Lenses/Prints
lenses by Bausch & Lomb
Duration(in mins):
107 or 111
Country:
United States
Language:
English
Passed by NBR:
No
SYNOPSIS

In 1944, before being sent overseas to war, U.S. Marines Nico Kantaylis, Frankie O'Neill and Alan Newcombe return to San Francisco to visit their loved ones. Frankie detests his loathsome stepfather, Charlie Scanlon, and so stops at a local tavern before going home. Alan's father, Amory Newcombe, a man of wealth and social stature, disagrees with his son's decision to enlist, but Alan, an idealistic intellectual, believes it is his moral duty to fight. Nico, a career sergeant in the Marines, visits his pregnant sweetheart, Andrea Lenaine, and insists that they immediately marry. While Nico proposes, Frankie drunkenly stumbles out of the bar and thus fortified, goes home, where he is welcomed by his mother and younger siblings. When Charlie accuses Frankie of being a coward and likens him to his late father, Frankie lashes out and Charlie throws him out of the house. After an altercation with his father, Alan goes to see his socialite fiancée, Sue Trumbell, and finds her drunkenly frolicking with a man named Derek. When Alan discovers Derek's clothes hanging in Sue's closet, he reproaches her and she defends herself by blaming her woes on her mother, an international beauty with a taste for exotic men, who deserted Sue in childhood. On the eve before they are to report for duty, the three Marines, trying to hold back the day, converge at a plush hotel. When Nico and Andrea, now married, are unable to obtain a room in the over-booked hotel, Alan gives them the key to the suite Frankie has reserved to romance his childhood sweetheart Lorraine. At the hotel bar, Lorraine surprises Frankie when ... +


In 1944, before being sent overseas to war, U.S. Marines Nico Kantaylis, Frankie O'Neill and Alan Newcombe return to San Francisco to visit their loved ones. Frankie detests his loathsome stepfather, Charlie Scanlon, and so stops at a local tavern before going home. Alan's father, Amory Newcombe, a man of wealth and social stature, disagrees with his son's decision to enlist, but Alan, an idealistic intellectual, believes it is his moral duty to fight. Nico, a career sergeant in the Marines, visits his pregnant sweetheart, Andrea Lenaine, and insists that they immediately marry. While Nico proposes, Frankie drunkenly stumbles out of the bar and thus fortified, goes home, where he is welcomed by his mother and younger siblings. When Charlie accuses Frankie of being a coward and likens him to his late father, Frankie lashes out and Charlie throws him out of the house. After an altercation with his father, Alan goes to see his socialite fiancée, Sue Trumbell, and finds her drunkenly frolicking with a man named Derek. When Alan discovers Derek's clothes hanging in Sue's closet, he reproaches her and she defends herself by blaming her woes on her mother, an international beauty with a taste for exotic men, who deserted Sue in childhood. On the eve before they are to report for duty, the three Marines, trying to hold back the day, converge at a plush hotel. When Nico and Andrea, now married, are unable to obtain a room in the over-booked hotel, Alan gives them the key to the suite Frankie has reserved to romance his childhood sweetheart Lorraine. At the hotel bar, Lorraine surprises Frankie when she appears in her new WAVE uniform. After Lorraine introduces her exotic roommate, Kalai Ducanne, to Alan, the delicate Kalai, a nurse at the local hospital, tells Alan about her Hawaiian-French ancestry and her desire to better herself by attending night school. As Alan and Kalai talk, Frankie becomes progressively drunker and mauls Lorraine, who has little tolerance for his irresponsible attitude toward life. They all adjourn to Lorraine's apartment, where Frankie pledges his undying love to Lorraine and then passes out on her bed. After Alan and Kalai share an embrace, Kalai confides that she has fallen in love with him, but he protests that they hardly know each other. Their discussion is interrupted by Frankie's drunken screams of terror at the prospect of going to war. After Frankie tries to run away, Lorraine declares that she has lost all respect for him and ends their relationship. Andrea, upon awakening in their hotel suite the next morning, begs Nico to run away with her and their unborn child, but he feels a moral imperative to accompany his men into battle. Later, the three Marines reunite aboard a troopship bound for Japan. When they land on the beach in a hail of gunfire, Frankie cowers in the sand and stays behind. Nico, surveying the bodies of dead soldiers while searching for the missing Frankie, finds him and slaps him into submission. In the following weeks, as casualties mount, Nico begins to doubt the wisdom of war. In San Francisco, meanwhile, Andrea gives birth to a son and Sue is momentarily sobered by the news about Marine losses in Japan. When Danny Krieger, a wise-cracking Marine, is shot by snipers, Alan calls for help, but the cowardly Frankie refuses to come to their aid. Shaken by Danny's death, Frankie is finally inspired to heroism. When, back in San Francisco, Charlie begins to belittle Frankie, his mother and siblings proudly produce a commendation of honor and medal awarded to Frankie. Sickened by the atrocities of war and an attack of fever, Alan begins to question his commitment to the military. In San Francisco, meanwhile, Kalai learns that Sue has been committed to the hospital for attempted suicide and rushes to her bedside. There, Sue, deranged, mistakes Kalai for her errant mother and begins to rant. Alan, now recovered from his fever, decides to reconcile with his father just as Kalai visits Mr. Newcombe to ask for Alan's address. At first suspicious of her motives, Mr. Newcombe is won over by Kalai's sincerity. On the battlefield, Nico is killed while single-handedly trying to stop an attacking tank, and Frankie somberly retrieves his friend's possessions. At the end of their tour of duty, Alan returns home to Kalai, and Frankie, newly promoted to sergeant, visits Andrea to deliver her husband's final letter. Sensing that Frankie also suffers from Nico's loss, Andrea assures him that Nico lives on in their son. Frankie then asks if he can come and see them again, and Andrea gives her assent. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.