I saw this film upon it's release and it has registered in my memory ever since. I was greatly impressed by Rod Steiger's performance as a closet homosexual Sergeant in the US army who strongly desires a young Private played by John Philip Law. I was fascinated watching how this obsession destroys this rough, tough sergeant. I particularly remember the scene where Steiger grabs hold of Philip Law and kisses him full on the lips. I must confess that I was greatly shocked at the time as I had never seen a man kiss another man before. (Now it happens on British TV regularly - how times have changed!!) All in all, I think this an excellent movie!
21 Reviews
A war film though not recognized as such.
tonygumbrell12 July 2006
I'm a Viet Nam vet who spent 6½ years in the Army, 5 years as sergeant or staff sergeant. This movie is the best and most accurate portrayal of army life I've ever seen. It's accuracy and correctness is uncanny. It makes me wonder how they did it. Most audiences would not be interested in the real McCoy, but this is it. It is also a top notch war film! The bleakness, emptiness, alienation, and devastating isolation, meanness, poverty, ugliness, and frightful brutality of army life are there in spades. The wreckage both of war and of the unnatural regimentation and peculiar dual hierarchy (that of commissioned officers and of non-commissioned officers) of the military are portrayed with accuracy and near perfect verisimilitude. Steiger is 110% convincing as a seasoned, career, First Sergeant in the regular army. I didn't bother with the theme of repressed homosexuality. It's the loneliness and debilitating harshness (often self-imposed by those who opt, or more likely fall into the trap of rootless expediency, of military life) that count here. Is it any wonder that soldiers commit atrocities in war? Watch this movie and see for yourself.
A dated but eyeopening film
tarmcgator1 September 2001
I haven't seen "The Sergeant" since its first release more than 30 years ago, and I've been disappointed that it hasn't been made available on VHS or recycled on cable TV. The ending of the movie is a cliche, and an unfortunate one, that likely would anger certain gay interest groups today. Yet I recall this film as one that opened the mind of a young heterosexual male who, until then, had been extremely homophobic. Rod Steiger's performance, as a supermacho soldier who is horrified of his own feelings of attraction to another man, is riveting. The outcome of the film, while dated, reflects the conflict and repression that gay men and women often experienced in our society prior to the advent of enlightenment in the 1970s (and, in the case of gay people in today's U.S. armed forces, still do). For my teenaged mind, it aroused the prospect that ALL human beings have the capacity to be sexually attracted to another person of the same sex, and that such attraction should be accepted and understood, rather than dreaded or shunned. Nothing in my subsequent experience has altered that perception. Despite the cliched ending, this is a film that displays empathy for its tormented lead character and demands that he be understood. It deserves revival.
The Army & the Inner Man
thinker169112 July 2006
With the close of World War Two, there were many unanswered questions for anyone who lived and worked in Europe. Life as the European faced it was difficult enough and that included the American Soldier. His military role went from active combat to stagnate occupation and that meant dealing with the drudgery of day to day life. It is easy to see the slackness and disorder which follows an occupying army when the main reason for being is removed. Thus viewers are not surprised when veteran Master Sargent Albert Callan (Rod Steiger) arrives at his station and finds a lack-luster supply company in complete disarray. The company commander is a less than inspirational officer who's a mealy mouth alcoholic with no leadership experience. He thus let's the Sargent handle the running of the camp. Soon, the company is brought into disciplinary order with the expertise of the Sargent. But the Sargent himself is troubled as he encounter a handsome young soldier (John Phillip Law) Pfc. Tom Swanson, whom he is attracted to. For Callan, the struggle begins between his repressed desires and the constant need to remain a 'straight' and stalwart military non-commissioned officer. For Steiger, this 1980's vehicle was seen as a scandalous, bold, and provocative movie. Yet for todays more sophisticated audiences, this film lacks direct confrontation between actors, content and message. Still for it's time, this was one surprising milestone in the history of filmdom. ***
Good film; slightly confusing
jgepperson25 October 2005
After wanting to see this film for a long time, I finally tracked down a VHS copy taped off TV in Philadelphia (I found the copy in California). The performances are very good. And it's well made, until it gets close to THE BIG MOMENT, and then the editing goes awry, as if studio executives had gotten nervous about the subject matter and deleted whole sections, so that the time line of the behavior of the title character - played by Rod Steiger - is all off. One minute he's telling John Philip Law to get lost; the next minute he wants him near. I know people change their minds, and LOSE them when they're obsessive, but it feels choppy here, and glaring. And between THE BIG MOMENT and the denouement there is an odd black and white montage that seems to be some kind of memory device (could the copy I saw be missing something?), so that seemed like another obvious studio error. Still, the movie is worthing seeing and should be on a double bill with "Reflections In A Golden Eye," another well made, failed film from around the same time and on the same subject (repressed, lonely, older, closeted military man fascinated by a handsome younger guy).
The Lonely Closet
bkoganbing26 January 2010
With the current debate over gays and lesbians serving in the military this 1968 film The Sergeant has a relevance undreamed of by the people who made this film a year before the Stonewall Rebellion.
Rod Steiger gives a brilliant performance as the tortured, self loathing, latently gay non-commissioned officer with whom the psychological bubble finally bursts. Steiger is a master sergeant assigned to a construction battalion in France. He's a professional soldier through and through and does take a rather lax company and whips into some kind of shape. Still there's an uneasiness to him that the men can't figure out. It isn't even on their radar screens, a gay man in the military just didn't compute back then.
It computes least of all to Private John Philip Law whose company Steiger seems to crave incessantly. The fact that Law is seeing local French girl Ludmila Mikael doesn't make any difference, Steiger intrudes on their relationship even more as it gets more serious between Law and Mikael.
It all breaks out in a devastating and dramatic climax where Steiger bursts forth from the latent closet. I assure you that you will not forget it once you've Steiger's self destruction.
In the time Steiger was brought up being gay was the most loathsome thing there was. Brokeback Mountain covered the same things and Steiger did not even have an idyllic summer to look forward to as did Heath Ledger and Jake Gyllenhaal. Another military film that covered latent homosexuality was Reflections In A Golden Eye where Marlon Brando as an officer was crushing out on a private in his company played by Robert Forster. That however was only one of many issues covered in that film, whereas this is the central and only theme of The Sergeant.
For those interested in gays in the military I would commend you reading Nigel Hamilton's book on the life of Field Marshal Sir Bernard L. Montgomery. Although it's a small part of the story, Hamilton attributes Monty's well known prickly personality to the fact that he was latently gay and never came to terms with it. Rod Steiger's character would have known exactly what Montgomery was feeling.
This is one of Rod Steiger's best screen roles, but the timeliness of the topic means this film could use a remake. Try casting this film with some of today's players. I could see Al Pacino or Robert DeNiro in the part of The Sergeant with maybe some teen heartthrob like Zac Efron as the recruit.
Still it would be extraordinary if it topped this one.
Rod Steiger gives a brilliant performance as the tortured, self loathing, latently gay non-commissioned officer with whom the psychological bubble finally bursts. Steiger is a master sergeant assigned to a construction battalion in France. He's a professional soldier through and through and does take a rather lax company and whips into some kind of shape. Still there's an uneasiness to him that the men can't figure out. It isn't even on their radar screens, a gay man in the military just didn't compute back then.
It computes least of all to Private John Philip Law whose company Steiger seems to crave incessantly. The fact that Law is seeing local French girl Ludmila Mikael doesn't make any difference, Steiger intrudes on their relationship even more as it gets more serious between Law and Mikael.
It all breaks out in a devastating and dramatic climax where Steiger bursts forth from the latent closet. I assure you that you will not forget it once you've Steiger's self destruction.
In the time Steiger was brought up being gay was the most loathsome thing there was. Brokeback Mountain covered the same things and Steiger did not even have an idyllic summer to look forward to as did Heath Ledger and Jake Gyllenhaal. Another military film that covered latent homosexuality was Reflections In A Golden Eye where Marlon Brando as an officer was crushing out on a private in his company played by Robert Forster. That however was only one of many issues covered in that film, whereas this is the central and only theme of The Sergeant.
For those interested in gays in the military I would commend you reading Nigel Hamilton's book on the life of Field Marshal Sir Bernard L. Montgomery. Although it's a small part of the story, Hamilton attributes Monty's well known prickly personality to the fact that he was latently gay and never came to terms with it. Rod Steiger's character would have known exactly what Montgomery was feeling.
This is one of Rod Steiger's best screen roles, but the timeliness of the topic means this film could use a remake. Try casting this film with some of today's players. I could see Al Pacino or Robert DeNiro in the part of The Sergeant with maybe some teen heartthrob like Zac Efron as the recruit.
Still it would be extraordinary if it topped this one.
Glum looking but OK drama
tim-764-2918563 April 2012
This was shown on TCM (Turner Classic Movies).
Set in a post-war Paris is the sergeant in question, one who has high standards and he believes, high morals. When he takes over a new set of men, they're sloppy, of low morale and in his eyes, weak and lazy.
He is naturally drawn to a young private, played by John Philip Law. Pte Tom Swanson (Law) has a sweet, French girlfriend but Master Sgt Albert Callan (Steiger) isn't interested in her, or women generally. He'd been married before but that fell apart.
Sgt Callan doesn't seem to show signs of his homosexual attraction to Law in the physical sense, but as mentor, friend and drinking buddy. Initially, he enlists him as the regiment's clerk, in effect his personal secretary, though Law tries to resist having to do that sort of work.
It's quite refreshing after all those Vietnam war movies where Sergeants are only shouting sadists, who beat their charges into total mental submission. However, this is not sweet nothings whispered over candle- lit dinners either, Steiger for all intents and purposes is a man's man. One, whom perhaps has lost his purpose, particularly in the Army, where they act now only as peacekeepers.
The film itself is quite slow and methodical and not really for a modern audience. But, for a character-driven drama, with Steiger both convincing and good, it passes muster. The script follows in the same vein as the direction.
It must also have been quite a brave role for Steiger to take as its subject was still taboo, especially in the macho world of the Military and any associations with that taboo could seriously affect an actor's reputation. The fact that Amazon don't list it as a region 2 DVD means that it must be a little-seen rarity. Kind of understandable. But, if you can catch it on TV, it's worth a look, I'd say.
Set in a post-war Paris is the sergeant in question, one who has high standards and he believes, high morals. When he takes over a new set of men, they're sloppy, of low morale and in his eyes, weak and lazy.
He is naturally drawn to a young private, played by John Philip Law. Pte Tom Swanson (Law) has a sweet, French girlfriend but Master Sgt Albert Callan (Steiger) isn't interested in her, or women generally. He'd been married before but that fell apart.
Sgt Callan doesn't seem to show signs of his homosexual attraction to Law in the physical sense, but as mentor, friend and drinking buddy. Initially, he enlists him as the regiment's clerk, in effect his personal secretary, though Law tries to resist having to do that sort of work.
It's quite refreshing after all those Vietnam war movies where Sergeants are only shouting sadists, who beat their charges into total mental submission. However, this is not sweet nothings whispered over candle- lit dinners either, Steiger for all intents and purposes is a man's man. One, whom perhaps has lost his purpose, particularly in the Army, where they act now only as peacekeepers.
The film itself is quite slow and methodical and not really for a modern audience. But, for a character-driven drama, with Steiger both convincing and good, it passes muster. The script follows in the same vein as the direction.
It must also have been quite a brave role for Steiger to take as its subject was still taboo, especially in the macho world of the Military and any associations with that taboo could seriously affect an actor's reputation. The fact that Amazon don't list it as a region 2 DVD means that it must be a little-seen rarity. Kind of understandable. But, if you can catch it on TV, it's worth a look, I'd say.
Rod Steiger gives a powerful performance
Tony Rome27 March 2010
This film was recently released on DVD as part of the Warner Archive series. Rod Steiger gives a powerful performance as the tough master Sergeant who is attracted to one of the soldiers. He becomes completely obsessed with this guy giving him special treatment, then taking it back. The one strange thing is how the soldier he was giving all the attention to, did not notice that something was definitely strange and bizarre. It is sad when the Sergeant addresses the men toward the end of the film. Steiger, and John Phillip Law are both very good in this film. The film is not restored, but the color and sound is acceptable. It could have used a slight remastering.
Setting the cause of gay politics back by a decade
MOscarbradley3 May 2006
When Hollywood made this film about homosexuality we were still in the dark ages. Homosexuals were either mincing queens, outright villains or deeply troubled sociopaths like the one Rod Steiger plays here. He's the kind of a man who won't admit to his feelings and who hides his passion for an extremely beautiful young soldier. played by John Phillip Law, under the guise of friendship. What distinguishes the film is Steiger's performance. It's a tour-de-force and among the best of his career. Steiger was to degenerate into the most appalling ham but here he was at the top of his game. He makes you forget the character is a cliché; he fleshes him out and turns him into a tragically flawed human being. It's just a pity the writer, Dennis Murphy who adapted the film from his own novel, saw fit to equate his psychosis with his homosexuality.
Law is pretty as well as being pretty vacant. On a physical level what gay man wouldn't be attracted to him but as one of the characters in "The Boys in the Band" says, you're hardly likely to have a conversation with him in the morning. Needless to say his career never went anywhere except to Europe. The movie itself adds up to a half-decent character study, (it's chiefly a two-hander and director John Flynn keeps it tight and focused, it draws you in), but it still probably put the cause of gay politics on screen back by about a decade.
Law is pretty as well as being pretty vacant. On a physical level what gay man wouldn't be attracted to him but as one of the characters in "The Boys in the Band" says, you're hardly likely to have a conversation with him in the morning. Needless to say his career never went anywhere except to Europe. The movie itself adds up to a half-decent character study, (it's chiefly a two-hander and director John Flynn keeps it tight and focused, it draws you in), but it still probably put the cause of gay politics on screen back by about a decade.
The sergeant's in the closet...and so is the film
moonspinner5516 May 2006
Homosexuality as something shameful and perverted. Such is the nature of the theme here, circa 1968, and time has made this much worse for the wear. A closeted Army sergeant is attracted to a handsome new recruit on a French Army Post; he hates himself for having these feelings, masks his emotions by being impossible and brutish (particularly to the man he desires). What follows is suspensefully drawn out, very well acted, serious...and yet seriously clichéd. In the lead, Rod Steiger stomps about like a frustrated bull; though his presence is quite imposing and, as an actor, he helps mount all the tension in this scenario, Steiger is being used as a plot-tool in these proceedings, and the movie is a one trick pony. John Phillip Law does some of his finest work, and the atmosphere and surroundings are certainly well captured, but "The Sergeant" isn't really useful anymore--except as a sad flashback to the past. ** from ****
Tactical Balance And Precision
TheFearmakers24 November 2019
It's not just what THE SERGEANT is about, or even who it's about... an American Second World War war hero returning to France the following decade for a peacetime gig, that's not quite as risky or daring: A Master Sergeant of basically mechanics, comfortably wielding his old-school, tough-as-nails approach to shape things up when both someone and something distracts him...
MSgt. Albert Callan is an extremely closeted closet homosexual, and on the surface, Rod Steiger portrays a lonely lifer who finally found a true friend he can mentor and/or simply hang around with. Of course it's more than that; but as a film from 1968 about 1952, John Flynn directs with a unique, strategic prowess perfectly matching Steiger's creepy-harsh yet desperately sympathetic performance.
On the other side is the contentedly handsome John Phillip Law, who usually plays wooden characters, yet he plays them well. Here his targeted private to Steiger's subtle style of persuasive bullying... after being reluctantly shifted from an outdoor job to office clerk... is, in its own way, equal to the commanding/demanding title role...
His is an oblivious, innocent reaction to the kind of awkward, painfully intriguing, passive/aggressive action that only Steiger could effectively pull off (and that Simon Oakland begged for) within a sparse and subtle maze countered only by French starlet Ludmila Mikaël as Law's town-next-door girlfriend, caught in the middle of something that would not only be considered impossible, but never be considered in the first place.
And yet, the controversial plot aside, Flynn's THE SERGEANT is an outright buddy flick bromance coinciding with the gentle male/female love story. Surprisingly, it's the latter that involves no seduction at all.
MSgt. Albert Callan is an extremely closeted closet homosexual, and on the surface, Rod Steiger portrays a lonely lifer who finally found a true friend he can mentor and/or simply hang around with. Of course it's more than that; but as a film from 1968 about 1952, John Flynn directs with a unique, strategic prowess perfectly matching Steiger's creepy-harsh yet desperately sympathetic performance.
On the other side is the contentedly handsome John Phillip Law, who usually plays wooden characters, yet he plays them well. Here his targeted private to Steiger's subtle style of persuasive bullying... after being reluctantly shifted from an outdoor job to office clerk... is, in its own way, equal to the commanding/demanding title role...
His is an oblivious, innocent reaction to the kind of awkward, painfully intriguing, passive/aggressive action that only Steiger could effectively pull off (and that Simon Oakland begged for) within a sparse and subtle maze countered only by French starlet Ludmila Mikaël as Law's town-next-door girlfriend, caught in the middle of something that would not only be considered impossible, but never be considered in the first place.
And yet, the controversial plot aside, Flynn's THE SERGEANT is an outright buddy flick bromance coinciding with the gentle male/female love story. Surprisingly, it's the latter that involves no seduction at all.
MSgt. Callan can hit the target, but The Sergeant misses the mark
rgcustomer26 January 2010
Interesting timing, showing this on TCM as the US Congress is supposed to be having hearings on repealing Don't Ask Don't Tell right about now.
I didn't find this film to be particularly good. The title character was kind of a cardboard caricature (suggestive bottle rubbing? hot dogs? really?) and you never get into his mind at all except for the black and white. The Sergeant in The Sergeant is basically The Thing in the The Thing. What a missed opportunity.
The parallels between the army preventing the Sergeant from openly acting on his desires, and the Sergeant trying to do the same to Swanson were probably lost on most viewers (including myself until now). I wish that angle had been examined a bit more.
I think the overall pacing was too slow for today's audiences. Gay people aren't some shocking secret to be discovered or pitied any more. Being admired by a gay man isn't the horror it might have seemed decades ago. But it's an interesting peek into an unpleasant history, and does still have something to say about sexual harassment and the abuse of power in the military.
I think this film would be a good companion to the 2009 documentary Outrage, which isn't about the military, but does get a bit more into the mindset of closeted conservative gay people in power. When you force people to hide their true selves, it shouldn't be surprising they act out in inappropriate ways.
Also, the 2003 TV movie Soldier's Girl, based on a true story, tackles anti-gay violence in the military. Yossi & Jagger from 2002 covers a more welcome relationship between one officer and his commanding officer.
I didn't find this film to be particularly good. The title character was kind of a cardboard caricature (suggestive bottle rubbing? hot dogs? really?) and you never get into his mind at all except for the black and white. The Sergeant in The Sergeant is basically The Thing in the The Thing. What a missed opportunity.
The parallels between the army preventing the Sergeant from openly acting on his desires, and the Sergeant trying to do the same to Swanson were probably lost on most viewers (including myself until now). I wish that angle had been examined a bit more.
I think the overall pacing was too slow for today's audiences. Gay people aren't some shocking secret to be discovered or pitied any more. Being admired by a gay man isn't the horror it might have seemed decades ago. But it's an interesting peek into an unpleasant history, and does still have something to say about sexual harassment and the abuse of power in the military.
I think this film would be a good companion to the 2009 documentary Outrage, which isn't about the military, but does get a bit more into the mindset of closeted conservative gay people in power. When you force people to hide their true selves, it shouldn't be surprising they act out in inappropriate ways.
Also, the 2003 TV movie Soldier's Girl, based on a true story, tackles anti-gay violence in the military. Yossi & Jagger from 2002 covers a more welcome relationship between one officer and his commanding officer.
Glad I saw this.
tsimms-640839 March 2021
When Rod Steiger got to his new base the way he treated the soldiers reminded me of Clint Eastwood in "Heart Break Ridge" These soldiers were so use to no command that they just did what ever they wanted. After that Rod Is no Clint on any level but still a movie to watch and understand what they were trying to do.
Brilliant film!!
johns_malebox10 July 2002
I believe this is one of the most sensitive films about hiding your gayness in the military. Even though it takes place many years prior to the 'don't ask don't tell' motto, it speaks of the difficulties a gay man must cope with.
Now that the industry has lost one of its more brilliant character actors, I hope this movie will find its way to DVD, along with "The Loved One" which has been on moritorium for some time.
Now that the industry has lost one of its more brilliant character actors, I hope this movie will find its way to DVD, along with "The Loved One" which has been on moritorium for some time.
One man's obsession
sol121827 January 2010
Warning: Spoilers
**SPOILERS*** Very similar to the film "Reflections in a Golden Eye" staring Marlon Brando and Elizabeth Taylor released the year before "The Sergent" explores the at the time almost unmentionable subject of homosexuality in, as well as out, of the US military and how it effects those closeted gay servicemen in it.
Being put in charge of a US Army maintenance company in rural post-WWII France Sgt. Albert Callan, Rod Steiger, was determined to whip his men and the unit into shape even if he ended up killing them in order to do it. As tough as they come and all army all the way Sgt. Callan did at first accomplish what he set out to do but it was his suppressed homosexuality that in the end got the better of him. And when that homosexuality came out of the closet it ended ended up destroying Sgt. Callan's long and distinguished 26 year army career as well as himself.
What started the tough GI Sgt. Callan long slide to destruction was his attraction to one of the men in the unit he commanded; Tall handsome and straight as an arrow Pfc. Tom Swanson, John Philip Law, or Swanee as Sgt. Callan affectionately called him. Trying to get close to Swanson Sgt. Callan had him take the job of company clerk so he can be alone with him at all hours of the day and night. Sawnson who at first thought that Sgt. Callan was a bit odd soon became to realize that he was trying to brake up his relationship with pretty French librarian Solange, Ludmina Mikael, who he considered to be a rival for the somewhat confused, in what exactly Sgt. Callan had in store for him, Swanson's affections.
As Pfc. Swanson slowly distanced himself from Sgt. Callan by strictly sticking to his job as company clerk and avoiding anything else to do, like going out on the town, with him Sgt. Callan's ability to preform effectively as a member of the US Military began to unravel. It got so bad that Sgt. Callan took his frustrations, in not being able to make it with the handsome Pfc. Tom Swanson, out on poor old and drunk Pop Hennekson, Elloitt Sullivan, who had just six months left to retire from the military. It was Pop being drummed out of the Army on Sgt. Callan's recommendation as well as him trying to get in the way of his relationship with his French girlfriend Solange that was the last straw for Swanson! And it was then and there that he stopped having anything to do with the by now feeling deeply hurt and rejected career army man.
***SPOILERS*** Only an actor of the caliber of Rod Steiger could make what at first was a very detestable and vulgar sexist, especially towards Solange, Sgt. Callan likable as well as sympathetic. With the secret about his sexual preferences, in his grabbing and slobbery kissing a shocked down to his socks Pfc. Swanson, becoming a public scandal a despondent, in him very possibly being kicked out of the US Army for being openly gay, Sgt. Callan completely fell to pieces. Getting himself good and drunk an uncouth and disheveled Sgt. Callan was formerly dismissed from his post of company Master Sergent by his commanding officer Captain Loring, Frank Latimore, who couldn't cover up his both strange and bizarre actions anymore. It's then that Sgt. Callan made a complete spectacle of himself, almost falling on his face, in front of the man that he once commanded. Knowing that his career in the US Military, which he was a member of since he was 16, was over Sgt. Callan did the only thing left for him to do! End it all and end it with a Bang!
Being put in charge of a US Army maintenance company in rural post-WWII France Sgt. Albert Callan, Rod Steiger, was determined to whip his men and the unit into shape even if he ended up killing them in order to do it. As tough as they come and all army all the way Sgt. Callan did at first accomplish what he set out to do but it was his suppressed homosexuality that in the end got the better of him. And when that homosexuality came out of the closet it ended ended up destroying Sgt. Callan's long and distinguished 26 year army career as well as himself.
What started the tough GI Sgt. Callan long slide to destruction was his attraction to one of the men in the unit he commanded; Tall handsome and straight as an arrow Pfc. Tom Swanson, John Philip Law, or Swanee as Sgt. Callan affectionately called him. Trying to get close to Swanson Sgt. Callan had him take the job of company clerk so he can be alone with him at all hours of the day and night. Sawnson who at first thought that Sgt. Callan was a bit odd soon became to realize that he was trying to brake up his relationship with pretty French librarian Solange, Ludmina Mikael, who he considered to be a rival for the somewhat confused, in what exactly Sgt. Callan had in store for him, Swanson's affections.
As Pfc. Swanson slowly distanced himself from Sgt. Callan by strictly sticking to his job as company clerk and avoiding anything else to do, like going out on the town, with him Sgt. Callan's ability to preform effectively as a member of the US Military began to unravel. It got so bad that Sgt. Callan took his frustrations, in not being able to make it with the handsome Pfc. Tom Swanson, out on poor old and drunk Pop Hennekson, Elloitt Sullivan, who had just six months left to retire from the military. It was Pop being drummed out of the Army on Sgt. Callan's recommendation as well as him trying to get in the way of his relationship with his French girlfriend Solange that was the last straw for Swanson! And it was then and there that he stopped having anything to do with the by now feeling deeply hurt and rejected career army man.
***SPOILERS*** Only an actor of the caliber of Rod Steiger could make what at first was a very detestable and vulgar sexist, especially towards Solange, Sgt. Callan likable as well as sympathetic. With the secret about his sexual preferences, in his grabbing and slobbery kissing a shocked down to his socks Pfc. Swanson, becoming a public scandal a despondent, in him very possibly being kicked out of the US Army for being openly gay, Sgt. Callan completely fell to pieces. Getting himself good and drunk an uncouth and disheveled Sgt. Callan was formerly dismissed from his post of company Master Sergent by his commanding officer Captain Loring, Frank Latimore, who couldn't cover up his both strange and bizarre actions anymore. It's then that Sgt. Callan made a complete spectacle of himself, almost falling on his face, in front of the man that he once commanded. Knowing that his career in the US Military, which he was a member of since he was 16, was over Sgt. Callan did the only thing left for him to do! End it all and end it with a Bang!
You're not supposed to like your sergeant. This top sergeant makes that role very easy.
mark.waltz11 September 2022
Warning: Spoilers
As this film was released in 1968 yet set in 1952, you're dealing with two different worlds, four presidents apart as well as going from the Korea War era to the height of the Vietnam War. Social issues in between those 16 years were massively different, so it's not surprising that the closeted gay man played by the recently Oscar winning Rod Steiger would have a difficult time accepting his own self Identity. Basically a very insecure but narcissistic self-hating brute, Steiger doesn't know how to romance man let alone reveal his feelings. He's the clod of all clods, someone who in the post Stonewall era would be referred to as a troll.
The funny thing is as great as Steiger is, you're supposed to despise him, and for a leading role in a movie to have a character so totally unlikable and yet be made to feel sorry for him (and not in the good way of feeling sorry for someone) is a rare thing. He is the type of character that they talked about in "The Boys in the Band" who will most likely knock himself off at the end of the movie, and it would take more than a decade for positive gay characters without these issues to start showing up in the movies. Steiger has one very revealing moment that puts everything into perspective about him right out there on the bar.
The object of his objectives is the handsome bright-eyed John Phillip Law, charming on every level, and if his character was gay, he probably wouldn't want to be seen socially with someone like Steiger. It's not just the physical, but the way that Steiger acts, the bull in the china shop, drunk or sober. Once he has Law under his thumb as his secretary, he's obsessively possessive, and his resentment of sweet Ludmila Mikaël is obvious from the start. When Law's colleagues try to analyze the newly arrived top sergeant, it's obvious that they are all suspicious of his motives and view him as possibly dangerous. Lots to take in with this character driven drama that is quite dated but was once considered daring and ahead of its time. Sadly ahead of its time in 1968 looked quite antique as the next decade rolled in.
The funny thing is as great as Steiger is, you're supposed to despise him, and for a leading role in a movie to have a character so totally unlikable and yet be made to feel sorry for him (and not in the good way of feeling sorry for someone) is a rare thing. He is the type of character that they talked about in "The Boys in the Band" who will most likely knock himself off at the end of the movie, and it would take more than a decade for positive gay characters without these issues to start showing up in the movies. Steiger has one very revealing moment that puts everything into perspective about him right out there on the bar.
The object of his objectives is the handsome bright-eyed John Phillip Law, charming on every level, and if his character was gay, he probably wouldn't want to be seen socially with someone like Steiger. It's not just the physical, but the way that Steiger acts, the bull in the china shop, drunk or sober. Once he has Law under his thumb as his secretary, he's obsessively possessive, and his resentment of sweet Ludmila Mikaël is obvious from the start. When Law's colleagues try to analyze the newly arrived top sergeant, it's obvious that they are all suspicious of his motives and view him as possibly dangerous. Lots to take in with this character driven drama that is quite dated but was once considered daring and ahead of its time. Sadly ahead of its time in 1968 looked quite antique as the next decade rolled in.
The horror of the corrupt commander
evening19 March 2020
Warning: Spoilers
Rod Steiger creates an amazingly scary and threatening portrait here.
As MSgt. Albert Callan, he is a WWII hero, having chased down and strangled an enemy combattant who'd killed the company gunner. Callen is 100% alienated from his fellow man, and possesses nothing but a military career launched at age 16.
Everything changes when Callan lays eyes on Pfc. Tom Swanson (John Philip Law), who excels at his job in the field and is quickly strong-armed into taking a job as Callan's secretary.
The movie becomes increasingly cringe-worthy as we watch the alcoholic Callan close in on Swanny, isolating him from his girlfriend and peers. Never more creepy and threatening than when he smiles, Callan recalls a spider stalking its prey, the ship master of "Billy Budd,"and the crazed captain of "Mutiny on the Bounty." The viewer squirms as the rapidly unraveling Callan declares his need for Swanny with a shockingly forceful kiss on the lips.
One's heart pounds in the movie's final frames, as one ponders whether the mortally shamed Callan will be a killer or a suicide.
The cinematography here is wonderful. I love the starkness of the camp-like base, with its plain wooden structures and misty landscape, lighted by the fires of local prostitutes who mill at some bombed-out rubble.
Observing Steiger's stunning performance, I often remembered late actor James Gandolfini, who carried a similar air of vulnerable toughness in his portrayal of Tony Soprano.
This movie seems much less well-known than Steiger's more famous work in "The Pawnbroker," released four years earlier. But i it is no less worth viewing.
As MSgt. Albert Callan, he is a WWII hero, having chased down and strangled an enemy combattant who'd killed the company gunner. Callen is 100% alienated from his fellow man, and possesses nothing but a military career launched at age 16.
Everything changes when Callan lays eyes on Pfc. Tom Swanson (John Philip Law), who excels at his job in the field and is quickly strong-armed into taking a job as Callan's secretary.
The movie becomes increasingly cringe-worthy as we watch the alcoholic Callan close in on Swanny, isolating him from his girlfriend and peers. Never more creepy and threatening than when he smiles, Callan recalls a spider stalking its prey, the ship master of "Billy Budd,"and the crazed captain of "Mutiny on the Bounty." The viewer squirms as the rapidly unraveling Callan declares his need for Swanny with a shockingly forceful kiss on the lips.
One's heart pounds in the movie's final frames, as one ponders whether the mortally shamed Callan will be a killer or a suicide.
The cinematography here is wonderful. I love the starkness of the camp-like base, with its plain wooden structures and misty landscape, lighted by the fires of local prostitutes who mill at some bombed-out rubble.
Observing Steiger's stunning performance, I often remembered late actor James Gandolfini, who carried a similar air of vulnerable toughness in his portrayal of Tony Soprano.
This movie seems much less well-known than Steiger's more famous work in "The Pawnbroker," released four years earlier. But i it is no less worth viewing.
A completely misunderstood art house masterpiece.
mikesturgill4922 March 2023
I hate to be condescending but the first few minutes were an important plot device. Please try imagining killing a young boy with your bare hands regardless of the circumstances. Imagine a man seeking absolution while condemning and punishing himself all the while. And are you ready for this: He wasn't necessarily even homosexual. Yes, this film is a psychological horror/drama!
By our reviews some are affronted by the handling of the subject matter and feel it makes the film outdated while forgetting this is a period piece. If you'd like to be transported back to France a few years after the war and are interested in the people of the period then you may appreciate the film as it is presented.
The great Rod Steiger was a craftsman who sought out the most thought provoking scripts and, as a twist, brought out the best from his directors. If you didn't appreciate "The Pawnbroker" you might certainly avoidt "The Sergeant".
By our reviews some are affronted by the handling of the subject matter and feel it makes the film outdated while forgetting this is a period piece. If you'd like to be transported back to France a few years after the war and are interested in the people of the period then you may appreciate the film as it is presented.
The great Rod Steiger was a craftsman who sought out the most thought provoking scripts and, as a twist, brought out the best from his directors. If you didn't appreciate "The Pawnbroker" you might certainly avoidt "The Sergeant".
Homosexual Panic
angelsunchained26 April 2024
This was an extremely controversial film for its time. It is well acted, especially by Rod Steiger. The supporting cast, for the most part, is okay. The film is very slow paced and most of the cast appear as very dull, listless and without any real energy. What I felt was weird throughout the movie was that numerous people would say how there is something strange about Rod Steiger's character. Seems that as soon as Steiger arrives at the military base that everyone developed homosexual panic. Why would a career master sargent suddenly make every other soldier uncomfortable. A lot of sexual symbolism throughout, a lot of strange stares for no good reason and of course everyone is in a homosexual panic. John Phillip Law was so wooden and void of emotion that it is hard to believe that anyone, male or female could be romantically interested in him. Outdated today, but still interesting.
An important film that needs to come OUT of the closet
AnotherCineFan6 August 2009
Cliché? No more than a thousand other films that make melodrama of the agony of unrequited love. What makes the film unique is not just that The Sargeant was "secretly" homosexual, what makes it unique is that he was TOO OLD (and fat!) for Swanson, who was obviously a "hottie", and more likely just plain heterosexual anyway.
It's impossible to watch this film and not be somewhat awed by the performance of Rod Steiger, who doesn't speak a word until ten minutes into the film, but his silent performance at the end still screams in your gut as the closing credits roll.
Did Swanson feel guilty for not helping out the old guy, or just pity because The Sargeant was a pervert? This question is left unanswered at the end of the film. It is as vital and important today as it was when released. It tells a story not only of general attitudes toward homosexuality at the time, but the never-ending story of young men's indifference to the attentions of fat old supervisors.
Seriously, the WB Archive DVD looks very good, but it's easy to see how a full restoration of the film could look exceptionally good. The important thing is that the film not be overlooked because the gay man doesn't get his guy.
It's impossible to watch this film and not be somewhat awed by the performance of Rod Steiger, who doesn't speak a word until ten minutes into the film, but his silent performance at the end still screams in your gut as the closing credits roll.
Did Swanson feel guilty for not helping out the old guy, or just pity because The Sargeant was a pervert? This question is left unanswered at the end of the film. It is as vital and important today as it was when released. It tells a story not only of general attitudes toward homosexuality at the time, but the never-ending story of young men's indifference to the attentions of fat old supervisors.
Seriously, the WB Archive DVD looks very good, but it's easy to see how a full restoration of the film could look exceptionally good. The important thing is that the film not be overlooked because the gay man doesn't get his guy.
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