After settling his differences with a Japanese P.O.W. camp commander, a British Colonel co-operates to oversee his men's construction of a railway bridge for their captors, while oblivious to a plan by the Allies to destroy it.
Wyoming, early 1900s. Butch Cassidy and The Sundance Kid are the leaders of a band of outlaws. After a train robbery goes wrong they find themselves on the run with a posse hard on their heels. Their solution - escape to Bolivia.
George Roy Hill
This movie deals with the situation of British prisoners of war during World War II who are ordered to build a bridge to accommodate the Burma-Siam railway. Their instinct is to sabotage the bridge, but under the leadership of Colonel Nicholson, they are persuaded that the bridge should be constructed as a symbol of British morale, spirit, and dignity in adverse circumstances. At first, the prisoners admire Nicholson when he bravely endures torture rather than compromise his principles for the benefit of the Japanese Commandant Saito. He is an honorable, but arrogant man, who is slowly revealed to be a deluded, obsessive man. He convinces himself that the bridge is a monument to British character, but actually is a monument to himself, and his insistence on its construction becomes a subtle form of collaboration with the enemy. Unknown to him, the Allies have sent a mission into the jungle, led by Warden and an American, Shears, to blow up the bridge.Written by
Writer Pierre Boulle, who had been a prisoner of war in Thailand, created Colonel Nicholson as an amalgamation of his memories of collaborating French officers. He strongly denied the claim that the book was anti-British, although many involved in the movie (including Sir Alec Guinness, who played Nicholson) felt otherwise. See more »
The roofs of some of the buildings in the hospital scene have television aerials on them. Since the film was set during WWII, the only countries which had television in any significant capacity were either in North America or Europe. There shouldn't have been any television aerials as was no need for them. See more »
Attention, English prisoners! Notice I do not say "English soldiers". From the moment you surrendered, you ceased to be soldiers. You will finish the bridge by the twelfth day of May. You will work under the direction of a Japanese engineer, Lieutenant Mioura. Time is short. All men will work. Your officers will work beside you. This is only just. For it is they who betray you by surrender. Your shame is their dishonor. It is they who told you: "Better to live like a coolie than die like a hero...
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Various versions have different main credits. There is the original that gives screenplay credit to Pierre Boulle, there is the restored version in which previously blacklisted Carl Foreman and Michael Wilson are credited and there is the original version that was distributed to cinemas at the time still lacking in CinemaScope equipment in which the Cinema Scope credit is omitted and the credits formatted to fit the smaller frame. See more »
I recently saw The Bridge on the River Kwai at the Cinerama Dome, and it was quite spectacular. Unlike some of today's grand adventure films, you get to know the characters along with seeing great scenes of acting and cinematography. Alec Guinness is at the top of his form as the single minded Colonel Nicholson. The scene between Nicholson and Saito in Saito's hut is remarkable. Nicholson still will not concede defeat, he even takes offense that other officers of different armies gave in and worked alongside the enlisted men. Saito can't understand Nicholson's acceptance of his punishment, and it drives him crazy. The film's plot has two stories that are beautifully intertwined. Shears' return to the bridge is his only way to escape the bridge. In the film's final act, the tension is turned up as the British commandos try to blow up the bridge, and a train, and only then does Nicholson realise what the bridge really is. The Bridge on the River Kwai is one film that is hard to top, the only film able to do that is Lawrence of Arabia, both directed by the meticulous eye of David Lean. One director who could put intimacy in epic circumstances.
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