YouHeart I gave it a 7.5 out of 10

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Gary The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

tomsview "The Young Lions" was one those big Hollywood war movies I remember seeing with my family at the local cinema during the late 1950s.I saw many of those films and actually read most of the slab-like novels they were based on: "Battle Cry", "The Man in the Gray Flannel Suit", "From Here to Eternity" and Irwin Shaw's "The Young Lions" - there just weren't that many competing devices back then.I usually read the books after seeing the films and then became acutely aware of how the movies suffered under the censorship of the day. The novels often filled in some serious gaps in my sex education, but the films never did.The story is about three soldiers: a German, Christian Diestl (Marlon Brando), and two Americans: Noah Ackerman (Montgomery Clift) and Michael Whiteacre (Dean Martin). The film follows their fortunes through WW2 until they cross paths at the end.The film has a number of authentic, well-executed sequences shot on location. However these are mixed with flat, over-lit scenes shot on the blandest of backlots and soundstages - the interiors are particularly artless. Documentary footage also added to the lack of a definitive style. Fortunately the action scenes open the film out. The most arresting of them was the ambush of a British convoy in North Africa. It would have touched a nerve with many in that audience in 1958 as our guys had been part of the British Eighth army and the war had only been over for 13 years.One of the surprises in the movie was the anti-Semitism Noah Ackerman encounters in the U.S. Army. Monty Clift faced a tough enlistment in "From Here to Eternity", but it was even tougher here. He looked worn (this was after his accident in 1956) and seemed a bit too old, but his performance is the most affecting in the film. No wonder Brando was wary of his talent.Dean Martin without Jerry Lewis was another surprise, but he was good as the soldier with better motives than he thought.Brando's blonde, broad shouldered Diestl starts out as a fine example of the master race, but his journey through the rise and fall of the Third Reich makes him thoughtful. He is treated rather sympathetically in the movie, although he was more of a nasty Nazi in the novel. However they may have overdone Diestl's disgust at every turn.I can see why Irwin Shaw was disappointed. However the film has its moments, and is still one I have no trouble watching every now and then.

wes-connors After the opening credits, we begin with New Year's Eve, 1938 in Bavaria, Germany. Blond shoemaker Marlon Brando (as Christian Diestl) is working part-time as a ski instructor. He enjoys a romance with American beauty Barbara Rush (as Margaret Freemantle). They break up when Mr. Brando joins the Nazi army. She is suspicious of German chancellor Adolf Hitler's political intentions, but Brando is not. He hopes Hitler will bring prosperity to Germany. World War II begins. On the other side of the Atlantic Ocean, American men are drafted as the country prepares for a war. At the draft board in New York City, Jewish store clerk Montgomery Clift (as Noah Ackerman) surrenders a cigarette to nightclub and radio singer Dean Martin (as Michael Whiteacre) and the men become fast friends. At a party, Mr. Clift begins a romance with pretty blonde Hope Lange (as Hope Plowman) while Mr. Martin dates Ms. Rush..."The Young Lions" was based on Irwin Shaw's 1948 best-selling novel. The 1958 adaptation does not really work – in this particular case – as it really plays out like two different films, weightlessly edited together. Brando and director Edward Dmytryk appear to have cooperated on changing his character to appear more sympathetic. Perversely, this strengthens Brando's portion of the film, giving his characterization more depth; however, it does little for the film as a unit. The most interesting role is portrayed by Clift, who is engaging in a role which recalls his classic appearance in "From Here to Eternity" (1953). Heralded as the third lead, Martin is good as a supporting player in Clift's half of the story. The three men may be little old for the parts, but are plausible...Rush is an underrated actress and she shows that here, especially in her scenes with Martin. Now appearing without comic partner Jerry Lewis, Martin remains appealing. Rush is a tenuous link between the US and German men. She, Ms. Lange and a seductive May Britt (as Gretchen Hardenberg) are distinctly beautiful – but the story is not about them. Brando's half benefits by contrasting his character with more loyal Nazi soldier Maximilian Schell (as Hardenberg). Filmmakers would have been wise to increase Mr. Schell's role and parallel him – through cinematic trickery – with Clift's character. Brando and Martin are also parallels. For reasons unfathomable in hindsight, there is no real scene for Brando and Clift to play, together. They do cross paths at one point, but do not really interact like you may be hoping. That someone could not write a small scene, at least, for the two highly regarded actors is a major disappointment.******* The Young Lions (4/2/58) Edward Dmytryk ~ Marlon Brando, Montgomery Clift, Dean Martin, Maximilian Schell

dimplet The best movies are ones that have a message that cannot be conveyed easily in a few words. Such is The Young Lions. And the core of the message is found in the ending, which I do not want to disclose. But it is a relatively quiet scene that is actually a kick to the solar plexus, intellectually.Yes, Brando delivers the more interesting and even sympathetic performance, once he warms up. But Clift's performance is perhaps finer acting, displaying great emotional vulnerability.The message of this movie was daring for 1958. It treats the enemy - the Germans - with objectivity, compassion and even some sympathy, while being critical of American faults and anti-Semitism. I think it is saying that we are all human, regardless of side, and we are all capable of committing evil acts if put in the wrong situation, up to a point. If your inner character is good and strong, you will not participate, though, as we see with Brando's character, Diestl. This is a message that is as important today as it was half a century ago, if not more so, as we see with atrocities such as those committed by American servicemen in Abu Ghraib prison, acts that we might have seen from Nazis. A key difference is that in America such acts are illegal and punished in courts. Yes, the anti-Semitic root of the harassment of Ackerman in the barracks is implied, rather than spelled out, unlike in the book. Why? Hollywood, which was largely controlled by Jewish moguls at the time, was reluctant to make anti-Semitism an issue, fearing a backlash. (The only movie to tackle anti-Semitism was a Gentleman's Agreement, made in 1947, just before Congressional HUAC hearings on Hollywood, and the blacklisting of writers, actors and directors.) I, for one, being Jewish, don't miss the anti-Semitic expletives. And the movie turns Ackerman into a representative of any American minority in the Army who is harassed but eventually accepted. But what has been largely forgotten is that there once was virulent anti-Semitism in America, and active, organized support for the Nazis in areas such as the Midwest during the 1930s run-up to Pearl Harbor. We're talking pro-Nazi meetings in middle class homes. This is the real subtext of Irwin Shaw's story. However, America was not Nazi Germany, in ideals or actions. And one of the key differences is America's objectivity and ultimate honesty. That is what makes The Young Lions great. I am proud that it treats the Germans objectively. Another movie along these lines is "The Desert Fox: The Story of Rommel," made, remarkably, in 1951. What many viewers do not understand is that it was illegal for members of the German military to enlist in the Nazi Party or engage in politics, even during the war. So officers such as Diestl were not Nazis, at least technically. They did swear an oath to support Hitler early on. It was the SS, the Schutzstaffel, a paramilitary organization, that was the arm of the Nazis. Nevertheless, plenty of regular German soldiers engaged in war crimes. But The Young Lions is saying do not judge each soldier or citizen by the acts of the group or nation. It is as wrong to engage in such prejudice toward Germans as it is against Jews or any group or nationality. The German people, to their credit, have largely faced up to the wrongs of WWII objectively. I think the tradition of intellectual honesty at the heart of Germany and Europe helped. The result is the modern world of reconciliation of former European enemies, something that is at least partially absent in Asia.The movie Stalingrad - 1993 is a stunning, raw German mea culpa that provides additional background for understanding movies such as this and Rommel. Watching The Young Lions lacks the drama and intensity found in many war movies. But it is a story that makes you think, and that lingers in your memory long after the movie is through. That is what gives it greatness. It is a movie more people should watch.

mwm-5 I saw The Young Lions when I was 18 years old, the year it came out. I went into the theater a college kid from Texas who totally bought the swagger of American war heroes. I came out of the film absolutely devastated -- and decided I was now a pacifist and would dedicate my life as an artist to living up to the high standards of this film.All the acting is extraordinary -- Cliff is at his very best, Dean Martin is a surprising revelation playing a dissolute Broadway star he was perfect for. Maximilian Schell is amazing -- I don't know how he wasn't given an Academy Award for Best Supporting Actor. Barbara Rush, Hope Lange and May Britt are all indelible portraits of the three faces of 40's women.The cinematography is black and white at its best, sharp elements of chiaroscuro unmatched by color films. The musical score is on a level with Holst's The Planets, unrelenting and devastating.But the outstanding feature of the film is the incandescent performance by Marlon Brando at the peak of power as an actor. I don't think I had ever tried to imagine how the Third Reich came to be and how it might have affected a normal German citizen until Brando's brilliant work illuminated it for me. He is at his most handsome, obviously in great shape inside that tailored uniform, and truly epitomizes the "Golden God of War" who is enlightened by the horror he is expected to deliver, and is transformed into a tragic figure.This is as good as Saving Private Ryan or Schindler's List -- one of the most neglected masterpieces of American cinema: a Greek tragedy of our own era.