| Columbia Pictures | Release Date: December 14, 1957 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
14
Mixed:
2
Negative:
0
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Critic Reviews
A gripping drama, expertly put together and handled with skill in all departments. Its potency stems only partly from the boxoffice draw of William Holden and, to a lesser degree, Alec Guinness. What elevates “Kwai” to the rank of an artistic and financial triumph for producer Sam Spiegel is the engrossing entertainment it purveys, including some scenes which will be listed as among the best of film memorabilia.
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The post-World War II cinematic landscape is littered with big-budget movies about the conflict and the toll it took upon those who participated. Some of those pictures have become timeless classics and some are nearly forgotten. Few, if any, are as simultaneously thrilling, awe-inspiring, and tragic as The Bridge on the River Kwai
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It is a whale (2 hr. 41 min.) of a story, and in the telling of it, British Director David Lean (Brief Encounter, Great Expectations) does a whale of a job. He shows a dazzlingly musical sense and control of the many and involving rhythms of a vast composition. He shows a rare sense of humor and a feeling for the poetry of situation; and he shows the even rarer ability to express these things, not in lines but in lives. Most important of all, he understands the real nature of the story he is telling.
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Despite the thinness of the final gesture, The Bridge remains an engrossing and stirring movie. Amazingly, it allows an American to feel patriotic about the British, and that is because it is not, thank God, patriotic about patriotism. Rather it represents the limitations of moral and national passion is well as its glories, and consequently makes patriotism, courage, and pride human possibilities.
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If there's a misstep here, it would be in the character of camp medic Maj. Clipton (James Donald). His overwrought dialogue---especially some Heston-like cries of "Madness!" during the finale---is too much of an on-the-nose contrast to the story's necessarily clinical existentialism. It slightly dilutes the film's piercing grandeur, but the nit is easily enough picked.
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The film is rather misshapen, particularly in the sections featuring William Holden, and the action that detonates the explosive finish isn't quite clear. However, Alec Guinness is compelling as the English Colonel Nicholson.
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