The Lost Patrol (1934) was a Adventure - War Film directed by John Ford and produced by John Ford, Merian C. Cooper and Cliff Reid.
Academy Awards 1934 --- Ceremony Number 7 (source: AMPAS)
|Best Music - Scoring||RKO Radio Studio Music Department, Max Steiner, head of department (Score by Max Steiner)||Nominated|
John Ford Blogathon: The Lost Patrol (1934)By Beth Daniels on Jul 14, 2014 From Mildred's Fatburgers
"I think I see something moving out there!" Poor Boris Karloff I had never seen The Lost Patrol until the other day, when I was (belatedly) preparing for The John Ford Blogathon. Filmed in the Sonoran Desert in Imperial County, California, every long shot of this wartime drama is spectacular -... Read full article
The Lost Patrol (1934) (2)By Beatrice on Apr 7, 2013 From Flickers in Time
The Lost Patrol Directed by John Ford 1934/USA RKO Radio Pictures First viewing Morelli: Right you are, Sarge! The Sergeant: Yeah, I know what you’re thinkin’. Perhaps I’ve done everything wrong! Perhaps this and perhaps that! But what I’ve done I’ve done, and what I ... Read full article
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The Sergeant: Deserted, hunh? Insubordinate swine! Bilged out! Left us like a rat when we needed every man! Why didn't you tell me? You're a party to this, you know! Well, get your rifle and get out of here. You take his place.
Sanders: [With a crazed look in his eyes] Yes, Yes, that's it, Sergeant! Yes!
The Sergeant: [Reading Brown's note] 'Sorry, Sergeant, but Quincannon was right. He knocked one off for Jock. I'll get another for Matlow. Taking a long swing to come around behind them. Fine moon tonight. Should be good hunting. Yours contritely, George Brown. P.S. Not a good name, but the best I could think of when I enlisted.'
Sanders: Brown, you're a gentleman! You've got breeding! You must have faith!
Sanders: Why? Why in Heaven's name, man, what do you believe in?
Brown: Would it really interest you? Oh, a lot of things. A good horse, steak and kidney pudding, a fellow named George Brown, the asinine futility of this war, being frightened, being drunk enough to be brave and brave enough to be drunk, the feel of the sea when you swim, the taste and strength of wine, the loveliness of women, the splendid, unspeakable joy of killing Arabs, the smell of incense and bacon, the weight of a fist, an old pair of shoes, a toothache, triunph...
Brown: All right.
Brown: I can't say much for the women though, but, oh, the girls! All Malayan females should be poisoned at 21. Before that, they're... Mmmmmm!
Jock MacKay: But a bit on the dark side, hunh, Brown?
Brown: Oh, yes, they're dark, but the longer you're there, the whiter they get, or that's the way it seems. That didn't bother me, Jock. I'll never forget the first time I saw... We sailed into a little harbor about sundown. The girls all came swimming out, flowere in their long hair, singing and laughing up at us from the water. Brown skin? Seemed like gold to me! A richer, deeper gold than any metal! I can see that gold shimmering now on their wet bodies as they swam like mermaids to the rail and climbed on board, laughing at us like a lot of shameless imps.
Quincannon: Ah, man, Topper, 'tis the soul of a poet you have!
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Composer Max Steiner re-used the main title music he wrote for this film for the main title music for Casablanca, albeit with a slightly different tempo and instrumentation.
The release of the almost complete version on DVD allows viewers to compare it with the edited 1949 re-release, occasionally shown on Turner Classic Movies. Eliminated in the shorter version is an early shot of Karloff with a book of poetry about the desert, Hanson's reminiscing about Kerrigan's and Hale's earlier days in the service, and McLaglen and Ford sharing cigarettes and recalling their wives and sweethearts. Apparently, a boxing match between Hale and Stein immediately following the death of Bevan, before they all draw lots, is still missing.
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