Ski Troop Attack (1960)

4.0/10

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Ski Troop Attack Movie Reviews

A Roger Corman Shoot In Dante’s Ninth Circle

In the Battle of the Bulge, four American ski troopers try to avoid the Germans and win the war.

It’s a typical cheap Roger Corman picture from the period. The sound is bad, the music for the score screams it’s the 1960s, and cinematographer Andrew Costikyan struggles in vain to get some interesting shots of men in white ski outfits against the snowy lands of the Dakotas. It was a trouble-plagued shoot; one snowbank that was supposed to collapse on cue did so prematurely, leading Corman to order his crew to stop it.

War movies had certainly changed since the 1940s, with their Willie-and-Joe attitudes of “Let’s get it done so we can get home alive” to bickering with the Military Academy lieutenant, and shooting the German fräulein in her Midwestern kitchen. Film-making for Corman in this period was a matter of looking under sofa cushions to find money for film stock, and his ability to hold his crew together was predicated on the hope that if they got through this shoot, somewhere down the road someone would see they had worked on a movie before, and ask no further questions. the only thing sustaining Corman was that the big studios had eliminated the programmer, so teenagers could either stay home with their parents and watch TV or go to a Corman picture and make out with their girlfriends.

Best of Corman’s early dramatic efforts.

Another moment when the low rating for a film at IMDb doesn’t make sense.

A tight, taut, tough-minded little war movie, this is Corman on a low budget at his absolute best. Most of Cormans problems in his early years derived from a lack of knowing where to cut scenes and move on, and a fatal dependence on the performances of inadequate actors. The editing here is very crisp – even the use of documentary footage is handled well, although its grain admittedly never meshes with that of the film as a whole. And while the acting remains unexceptional, it never becomes excessive in an amateurish way, and it fits with the overall gritty realism of the picture.

Corman benefits here from a surprisingly strong story and script that leaves its thematic issues open to interpretation. The issues receive temporary resolution by the end the hard way – through combat, as is most often the case in a war.

I’m not saying this is a forgotten masterpiece, but it is certainly worth a view, and at 63 minutes hardly threatens to tax one’s patience.

Christmas 1944 in the land of the Christmas Trees

A central paradox of the Battle of the Bulge was that with all that snow it was the most photogenic but probably the most miserable to actually participate in. It’s characteristic of the sardonic tone of Corman’s war movies that the obligatory female turns out not to be a sweet young fraulein but a fervant Nazi who still believes the war was started by the Poles.