I did not lose a war to die in the back seat of a car. At the end of 1944 American Lt. Col. Dan Kiley (Henry Fonda), a military intelligence whiz and former police officer, discovers that the Nazis are planning to attack Allied forces near Belgium. Certain that the exhausted enemy can’t muster much force, General Joe Grey (Robert Ryan) isn’t convinced by Kiley’s findings, and his men pay the price when the German tanks begin their offensive in the Ardennes. In the heat of this key World War II battle, Kiley must come up with a plan when it becomes clear that the Nazis are trying to steal fuel from the Allies, there are Germans disguised as American MPs diverting traffic from the new Western Front and an ambitious German Colonel Hessler (Robert Shaw) who intends keeping the war going as long as possible no matter how many are sacrificed as he leads the Panzer spearhead of the German counterattack … Having been an inspector of police does not disqualify me from thinking. Written by (formerly blacklisted) Bernard Gordon, producer Milton Sperling and Philip Yordan (with contributions by John Melson), this is proper WW2 entertainment about a huge episode that involved a million men and which I once had the temerity to describe to someone as an instance of poor project management on the part of Hitler and his cronies. I love me a good war movie, better still if there are tanks (my dream vehicle, particularly the camo models in Desert Storm. So sue me!) so this is perfect Easter (or Passover!) holiday fare. Criticised for not being 100% accurate and its Spanish locations being a poor imitation of the Ardennes setting, this has a lot going for it, not least the staging and the tremendous cast. There is detail by the yard – and the weather reports are crucial. The way that the strategy and tactics are exposed is a triumph of film storytelling. Shaw is sizzling as one of the nastiest Nazis outside the Bulgarian Waffen SS and it’s a star-making role. Fonda’s doggedness is wonderfully sympathetic, especially when you have the feeling (because you’ve seen him in other movies) that he’s probably right about everything and his bozo superiors find out, soon enough. It’s the perceptive structuring of the narrative from both perspectives that makes this tick along quickly. While not setting out to be a satire (hardly, although WW2 vet Sperling was no fan of warfare) the dialogue is sparkling with zingers – aphoristic and otherwise, particularly punctuating Shaw’s scenes – and there’s one out-and-out comic scene (played straight) when Savalas returns to his business to check how things are doing. Pier Angeli pleads for some promise of marriage because this is what she understands by the term ‘business partnership’ and wants a sign. But he’s rushing back to the front so he just tells her to keep feeding the chickens (they’re looking scrawny). This amusing character sidebar is one part of a dedicated soldier and Savalas plays it to the hilt. There’s a mass execution which won’t surprise you – but someone gets away and the payoff is very satisfying indeed. There are some good map room scenes; a really funny one-word message from US Command to German Command; and a breathtaking POV section with Fonda gliding down in silence over the attack position of the German tanks on the other side of the river: just listen to the score. Such inventive work by Benjamin Frankel. The final sequence of tank battle is suitably fiery and an injured and vengeful Savalas joins forces with James MacArthur at the fuel depot where they get to blow up more than just the gas supply. Beautifully shot by Jack Hildyard in 70mm and a fine job of direction by Ken Annakin with not a moment to spare in its 163 minutes. Never mind what Ike said – this is simply sensational. When I have a brigade of tanks – that is reality!