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They Were Expendable

They Were Expendable is a 1945 American war drama film directed by John Ford and starring Robert Montgomery as Lieutenant John Brickley and as Lieutenant J.G. "Rusty" Ryan. The film, produced by (MGM), runs 135 minutes and depicts the exploits of the U.S. Navy's Squadron Three (MTBRON-3) in defending the against the Japanese invasion at the outset of . Based on William L. White's 1942 nonfiction book of the same name, which draws from interviews with survivors including recipient Lieutenant , the story highlights the squadron's desperate missions using innovative but undervalued PT boats to harass enemy forces. The narrative centers on Brickley's determination to demonstrate the PT boats' combat effectiveness amid skepticism from higher command, as the squadron engages in hit-and-run attacks on shipping in while the American forces face defeat and evacuation. Supporting roles include as Army nurse Sandy Davyss, Jack Holt as General Martin, and as "Boats" Kilpatrick, with the film emphasizing themes of duty, sacrifice, and the human cost of . Filmed primarily in the to simulate the due to wartime restrictions, production involved actual PT boats and Navy veterans, including , who drew from his real-life experience as a PT boat commander in the Pacific. , himself a Navy officer during the , left the project midway after fracturing his leg but returned to complete it, infusing the film with authentic military detail. Released in December 1945, shortly after the war's end, They Were Expendable received acclaim for its realistic portrayal of early Pacific Theater battles and Ford's direction, earning Academy Award nominations for Best Sound Recording and Best . The film underscores the expendable nature of the crews, who buy time for the Allied retreat despite heavy losses, and it remains a notable example of Hollywood's wartime evolving into somber reflection on heroism. One-third of the book's rights proceeds were donated to the Relief Fund, reflecting its ties to real naval .

Historical Background

PT Boats in World War II

PT boats, or Patrol Torpedo boats, were small, fast-attack wooden vessels developed by the for coastal and littoral operations during . Measuring approximately 77 to 80 feet in length with a beam of about 20 feet, these boats featured lightweight plywood hulls reinforced with steel framing to achieve high speeds of up to 41 knots, powered by three 1,500-horsepower V-12 engines. Designed primarily for , they targeted larger enemy warships, transports, and supply vessels using stealth and speed rather than direct confrontation. Armament typically included four 21-inch torpedo tubes for launching Mark 18 electric , twin .50-caliber machine guns for anti-personnel defense, and one or two 20mm Oerlikon cannons for light surface engagements; some variants also carried depth charges or smoke generators for evasion. Crewed by 12 to 17 sailors, including 2-3 officers, PT boats emphasized mobility over armor, making them ideal for disrupting enemy logistics in confined waters like bays and straits. In the early Pacific campaign, Motor Torpedo Boat Squadron 3 (MTBRon 3), the first U.S. Navy PT boat unit deployed to the theater, arrived at Cavite Naval Base in Manila Bay, Philippines, on September 28, 1941, aboard the transport USS Guadalupe. Commanded by Lieutenant John D. Bulkeley, the squadron consisted of six 77-foot Elco PT boats—PT-31 through PT-35 and PT-41—equipped for torpedo and gunfire attacks against anticipated Japanese incursions. Following the Japanese attack on Pearl Harbor on December 7, 1941, and the subsequent invasion of the Philippines, MTBRon 3 immediately commenced night patrols in Manila Bay to harass advancing enemy forces, marking the squadron's initial combat successes in defending the vital waterway. These operations included interdicting Japanese landing craft and transports, with the boats operating in pairs to provide mutual support during hit-and-run strikes. By early 1942, as Japanese air and naval superiority intensified, the squadron relocated southward to bases on Bataan Peninsula, such as Sisiman Bay, before a final withdrawal from the Philippines in April 1942 amid the fall of Corregidor. Key engagements during the defense of highlighted both the PT boats' effectiveness and their constraints. On the night of January 22-23, 1942, PT-34, under Bulkeley's direct command, patrolled and sank a 40-foot landing barge with machine-gun fire north of Cañas Point, capturing two wounded prisoners in the process. Similarly, on February 1, 1942, PT-32 attacked a cruiser in , firing two torpedoes and observing a large , likely damaging a nearby though not confirming a full sinking. These actions contributed to delaying reinforcements, but the squadron's overall impact was limited by severe operational challenges. PT boats proved highly vulnerable to air attacks, with PT-31 destroyed to prevent capture in on January 19, 1942, and PT-33 grounded on December 24-25 and set afire on December 26 near Point Santiago to prevent capture. Supply shortages plagued the unit, including contaminated gasoline that caused engine failures, scarce torpedoes and spare parts due to bombed facilities, and exhausted crews from constant patrols without relief. U.S. high command often regarded PT boats as strategically expendable, prioritizing larger surface fleets and viewing the small wooden craft as auxiliary tools in a losing defensive rather than core assets.

Real-Life Inspirations and Events

The 1942 book They Were Expendable by William L. White served as the primary literary source for the film's narrative, presenting a account derived from extensive interviews with four key survivors of Squadron 3 (MTBRon 3) during the initial invasion of the . White's work, structured as a series of dialogues among the interviewees, highlighted the squadron's daring but ultimately doomed operations against overwhelming enemy forces, underscoring themes of sacrifice and resilience in the face of strategic retreat. The book drew directly from the personal testimonies of these officers, capturing the human element of their service amid the broader efforts to harass shipping and support Allied defenses in Philippine waters. Central to White's narrative was Lieutenant John D. Bulkeley, the commanding officer of MTBRon 3, who earned the for his leadership in conducting 13 separate engagements against superior Japanese naval forces between December 1941 and April 1942. Bulkeley's most celebrated action involved orchestrating the high-risk evacuation of General , his family, and staff from on the night of March 11, 1942, using PT boats to navigate treacherous waters under threat of Japanese patrols and reach for subsequent air transport to . This mission, executed with PT-41 under Lieutenant (jg) Robert B. Kelly and supported by PT-34 commanded by Bulkeley himself, exemplified the squadron's role in preserving key leadership during the fall of the . White's interviews also featured Lieutenant Robert Ball, the squadron's and a of multiple runs against Japanese destroyers and barges, as well as other officers who contributed accounts of the boats' hit-and-run tactics in . These officers' stories intertwined with the broader defense of and , where MTBRon 3's PT boats provided critical support, including supply deliveries and interdictions, often aided by local Filipino civilians who offered intelligence and logistical assistance that later evolved into organized guerrilla networks. Following the evacuation and the squadron's withdrawal southward, the remaining PT boats and crews faced mounting pressure as Japanese forces overran key positions; by early April 1942, surviving vessels such as PT-32, PT-34, and PT-35 were scuttled off to prevent capture, with PT-34 destroyed by enemy air attack on April 9. Many crew members, including some from MTBRon 3, dispersed into the hinterlands to join Filipino guerrilla units, conducting , , and supply operations against Japanese occupiers until Allied forces returned in 1944.

Film Overview

Plot Summary

The film opens in December 1941 in Manila Bay, Philippines, where Lieutenant John Brickley commands Motor Torpedo Boat Squadron Three as Japanese forces launch their invasion following the attack on Pearl Harbor. His executive officer, Lieutenant Junior Grade "Rusty" Ryan, grows frustrated with the squadron's initial role limited to messenger duty, despite the boats' potential for combat. The crew demonstrates the speed and maneuverability of the PT boats to skeptical Army generals, who dismiss them as mere "splinter fleets" unsuitable for serious warfare. As the Japanese advance intensifies, the squadron receives its first combat assignment: two PT boats sink a cruiser in a daring nighttime , proving their value but at the cost of one vessel. Interludes of downtime allow moments of camaraderie among the sailors, including Rusty's brief romance with nurse Sandy Davyss during a USO dance. Subsequent missions yield mixed results, with escalating defeats, supply shortages, and mounting casualties forcing the remaining boats to be reassigned as ambulances ferrying wounded soldiers from . In the climax, two surviving PT boats are tasked with evacuating a high-ranking general and his family from the besieged island of , a perilous journey through enemy waters that succeeds despite heavy fire. With the fall of the imminent, the squadron is disbanded; Brickley and his men are ordered to scatter into guerrilla units to continue the fight behind enemy lines, while Rusty is reassigned to to advocate for more PT boats. The story unfolds linearly, emphasizing the crew's resilience amid retreat. The plot draws from real events during the defense of the , as recounted in William L. White's 1942 book They Were Expendable.

Cast and Characters

The principal cast of They Were Expendable features a mix of established stars and character actors portraying U.S. Navy personnel in the early days of , emphasizing themes of duty, resilience, and unit cohesion through their character portrayals. Robert Montgomery stars as Lieutenant John Brickley, the stoic and dedicated commander of a squadron, whose unwavering loyalty to his vessels and crew embodies the archetype of the steadfast naval leader committed to proving the worth of his unproven command. portrays Lieutenant Junior Grade "Rusty" Ryan, Brickley's ambitious second-in-command, who begins as a disillusioned officer frustrated with the squadron's marginal status but evolves into a figure of renewed resolve, representing the archetype of the finding purpose in adversity. plays Second Lieutenant Sandy Davyss, an nurse serving as the romantic interest, whose poised and compassionate demeanor highlights the supportive role of medical personnel amid frontline challenges. In the supporting cast, Jack Holt appears as General Martin, a high-ranking whose interactions underscore the strategic pressures on the squadron. provides as Chief Boatswain's Mate "Boats" Mulcahey, the gruff yet loyal engineer whose humor reinforces the ensemble's camaraderie and morale-boosting dynamics. depicts "Snake" Gardner, a young and eager whose enthusiasm contributes to the group's youthful energy and collective spirit of determination. Montgomery's performance as Brickley drew on his real-life naval service, where he commanded a in the Pacific Theater after enlisting following , lending authenticity to the commander's tactical decisions and authoritative presence.

Production

Development and Pre-Production

MGM acquired the film rights to William L. White's 1942 nonfiction book They Were Expendable in August 1942 for $30,000 plus up to $20,000 in royalties, with one-third of the purchase price donated to the Relief Fund. Initially envisioned as a production starring , the project was placed on MGM's "inactive" list in September 1943 amid declining popularity of war films and similarities to other projects like , before resuming in mid-1944 following renewed public interest in the Pacific Theater. The book, based on interviews with survivors of Squadron 3 during the early Pacific campaign, drew from a naval communiqué describing the PT boats as "expendable" in . Pre-production began shortly after acquisition, but progressed slowly amid the ongoing war; by late October 1942, two veterans of the campaign were assigned to supervise the script for authenticity. The adaptation process involved over 20 drafts, stretching until the end of 1944, as producer Sidney Franklin and Frank "Spig" Wead debated plot focus, historical framing, and the film's conclusion. The screenplay was written by , a former naval aviator and longtime collaborator of director , based on White's book. Wead began significant contributions to the script in mid-1944. Wead's military background infused the script with procedural details on operations, while Ford, who had been leading a documentary unit since 1941, was hired as director due to his expertise in wartime filmmaking. Negotiations between head and the Secretary of the allowed Ford to go on inactive duty in October 1944 to helm the project, emphasizing a tone of restrained heroism that avoided bombastic patriotism in favor of somber sacrifice. This approach reflected Ford's own experiences filming combat documentaries, prioritizing quiet resilience over glory. To balance historical fidelity with wartime morale-boosting needs, the script compressed the timeline of Squadron 3's operations from late 1941 to mid-1942 into a more concise narrative, fictionalized character names (such as portraying real commander Lt. as the composite Lt. John Brickley), and introduced romantic subplots absent from White's account, like the relationship between Lt. Rusty Ryan and nurse Sandy Davys. Certain real-life setbacks, including specific failures and the full extent of the defeat, were omitted or softened to inspire audiences during the war's final phases, aligning with the Office of War Information's guidelines for uplifting content. logistics ramped up in early 1945, influenced by renewed public interest in Pacific victories; insisted on using authentic PT boats sourced from the , ensuring realistic depictions despite material shortages from the ongoing conflict.

Filming and Locations

Principal photography for They Were Expendable commenced on February 1, 1945—director John Ford's 51st birthday—in , and continued through the spring and into early summer, wrapping principal shooting in mid-June 1945 after approximately four months of location work amid wartime material shortages. The served as the primary filming sites, with mangrove swamps, , and nearby naval facilities simulating the Philippine Islands' tropical terrain and military outposts to depict the early defense against forces. The U.S. Navy provided authentic PT boats for the production, including two 80-foot Elco-class vessels and four 78-foot Huckins-class boats previously used in training squadrons, allowing for realistic portrayals of Squadron Three's operations without relying on miniatures or mock-ups. 's demanding style emphasized efficiency and , frequently capturing scenes in single takes to maintain the raw energy of naval maneuvers, though this approach strained the cast, particularly , whom Ford reportedly pushed harder due to his lack of wartime service. Production faced logistical hurdles from unpredictable weather, including opportunistic use of heavy rains to enhance atmospheric scenes of hardship, as well as occasional mechanical issues with the aging PT boats that delayed water sequences. Midway through filming, suffered a severe , fracturing his after falling 20 feet from a scaffold, which sidelined him for two weeks in traction and forced co-star Robert Montgomery—who had real-life experience commanding boats during the —to step in as actor-director for the remaining scenes, ensuring continuity in the action-heavy finale. Stunt coordination prioritized authenticity, featuring genuine maneuvers with live .50 caliber fire for combat realism and simulated launches that showcased the vessels' high-speed attacks on mock targets, heightening the film's tense naval engagements without compromising safety.

Technical Innovations and Challenges

The cinematography of They Were Expendable was handled by Joseph H. August, an Academy Award-nominated cinematographer known for his mastery of and shadow play, which proved essential for capturing the film's tense night sequences involving operations. August's work emphasized naturalistic lighting to convey the perilous, dimly lit waters of the Pacific, enhancing the film's documentary-like without relying on artificial illumination that might have disrupted the wartime authenticity. His techniques drew on his prior collaborations with director , allowing for fluid, immersive shots that highlighted the boats' speed and vulnerability during nocturnal patrols. In post-production, editors Douglass Biggs and Frank E. Hull refined the footage into a 135-minute runtime, streamlining the narrative to focus on the squadron's operational grit while preserving Ford's deliberate pacing. The sound design, overseen by Douglas Shearer, incorporated mono audio via the Western Electric Sound System to immerse audiences in the mechanical clamor of engines and waves, earning an Academy Award nomination for Best Sound Recording. This approach prioritized auditory realism, using layered ambient noises to evoke the isolation and urgency of naval combat, though specific details on diegetic elements like music or radio communications remain undocumented in primary production records. Production faced significant hurdles, including director John Ford's injury in May 1945, when he broke his leg after falling 20 feet from a scaffold, necessitating actor —who had real command experience—to step in and direct the remaining scenes. Montgomery's interim leadership maintained the film's momentum, with Ford later praising his contributions for upholding the project's authenticity. Wartime constraints limited resources, but the use of actual U.S. Navy-supplied and veteran crew members mitigated logistical issues, allowing practical filming in locations to simulate Philippine waters. Special effects were crafted by A. Arnold Gillespie, whose work on models and earned the film an Academy Award nomination for Best . A notable innovation involved a 1/16-scale Japanese cruiser subjected to simulated strikes, complete with explosive charges to depict hull breaches and fires, blending seamlessly with live-action footage of the PT boats. Practical effects for boat damage relied on controlled impacts and fire stunts filmed on location, such as a real blaze on standing in for the attack, avoiding early CGI equivalents and emphasizing tangible destruction to underscore the expendable nature of the vessels.

Release and Commercial Performance

Premiere and Distribution

The world of They Were Expendable took place on December 19, 1945, at Loew's Capitol Theatre in , shortly after the conclusion of The event highlighted the film's tribute to the U.S. Navy's Squadron 3, drawing attention to the sacrifices of crews in the early Pacific campaign. Metro-Goldwyn-Mayer (MGM), through its distribution arm Loew's Inc., handled the film's theatrical rollout, with a wide U.S. release beginning December 20, 1945. Originally intended as wartime propaganda in collaboration with the , the production was delayed following Japan's surrender in , shifting its focus to a post-war commemoration of heroism amid defeat. The film opened in major U.S. cities, including on December 20, where it screened at prominent venues to capitalize on the recent end of hostilities. Marketing efforts emphasized the film's basis in real events from William L. White's 1942 bestseller, positioning it as an authentic portrayal of naval valor to resonate with audiences still processing the war's toll. Promotional materials, including posters, underscored themes of duty and resilience, aligning with MGM's strategy to honor in the immediate postwar period. Internationally, the film saw a release in the on December 7, 1945.

Box Office Results

They Were Expendable achieved domestic rentals of $3,109,000 and foreign rentals of $1,238,000, for a worldwide total of $4,347,000. The film's production budget stood at $2,933,000, resulting in a modest net loss of $101,000 after for distribution fees and other costs. These figures, drawn from MGM's internal financial records, reflect the studio's high expectations for the project given its scale and star casting, though the outcome fell slightly short of breaking even. International performance was constrained by post-war economic restrictions, including blocked currency remittances and import quotas imposed by European governments to protect local industries and balance payments. Despite these barriers, the film found stronger reception in Allied nations like the United Kingdom and Canada, where distribution faced fewer obstacles and wartime alliances facilitated smoother market access. Several factors influenced the film's commercial reception. The star power of and Robert Montgomery, both established box office attractions during the war years, provided significant draw. However, the release coincided with a shifting public mood toward peace following Japan's surrender in , alongside competition from numerous other war-themed productions that saturated the market. As Wayne later noted, audiences had grown weary of war films after viewing "eight million" such pictures. This helped mitigate some of these challenges but could not fully overcome the broader industry transition.

Reception and Analysis

Contemporary Critical Response

Upon its release in December 1945, They Were Expendable received widespread praise from critics for its realistic portrayal of early naval operations and John Ford's direction. of lauded the film as a "stirring picture of a small but vital aspect of the war," highlighting Ford's ability to blend personal stories with epic narrative and commending Robert Montgomery's restrained performance as Lieutenant John Brickley. described it as "nostalgic, warm with sentiment and full of fight in every foot," emphasizing the authenticity of the action sequences and the emotional depth of the . Variety echoed this acclaim, noting the film's authentic depiction of the PT boats' role in delaying the advance in the and praising Ford's handling of the action as both exciting and credible. The review highlighted the effective integration of heroism and loss, crediting the production's technical fidelity to real naval experiences for elevating it above typical wartime fare. Some reviewers, however, critiqued the film's somber tone and deliberate pacing, finding it overly melancholic in the post-victory context of late 1945. Critics argued that the emphasis on and , rather than triumph, contributed to a slower rhythm that occasionally undermined dramatic momentum, with the romantic subplot between Montgomery's character and Donna Reed's nurse seen as somewhat extraneous. Overall, contemporary reviews were predominantly positive, with aggregates indicating approximately 90% approval among major outlets, reflecting appreciation for the film's morale-boosting on understated heroism and without glorifying victories. himself viewed the project as a serious to expendable lives, insisting during production that it avoid simplistic to honor of the early Pacific campaign.

Modern Reassessments and Themes

In modern reassessments, They Were Expendable has been praised for its thematic depth, particularly the portrayal of and the of PT boats as a for the expendability of individuals in . Critics note that the film's focus on the futile yet heroic defense of the subverts traditional notions of victory, emphasizing defeat and human cost over triumphant . This approach highlights the soldiers' sense of disposability, where their efforts, though valiant, contribute to a larger, impersonal . Recent critical aggregates reflect this enduring appreciation, with the film holding a 92% Tomatometer score on based on 12 reviews, underscoring its anti-jingoistic tone amid wartime cinema. Essays from the and later, such as those in film retrospectives, commend Ford's restraint and tragic grandeur, distinguishing it from more flag-waving contemporaries by avoiding crude righteous anger. For instance, a 2023 review describes it as a powerful that captures the tremendous toll of Pacific victories, reinforcing its status as a nuanced war narrative. Scholarly analyses post-2000 often draw connections to influences in the film's melancholic tone and shadowy visuals, which underscore themes of inevitability and loss rather than glory. Critiques also examine gender roles, particularly through Donna Reed's nurse character, who represents domestic stability amid masculine camaraderie but reinforces traditional wartime dichotomies where women symbolize the "home" that motivates male . These elements critique the redefinition of in the face of defeat, portraying soldiers as both heroic and vulnerable. The film is now recognized as Ford's most personal war effort, made immediately after his U.S. Navy service and contrasting his earlier, more documentary-style works like The Battle of Midway (1942), which celebrated collective resolve without the introspective here. This reassessment positions it as a bridge between Ford's wartime experiences and his postwar explorations of heroism's limits.

Awards and Legacy

Awards and Nominations

At the held in 1946 for films released in 1945, They Were Expendable received two nominations recognizing its technical craftsmanship. was nominated for Best Sound Recording, crediting the Studio Sound Department for their work in capturing the film's authentic wartime audio, including naval combat sequences. A. Arnold Gillespie, Donald Jahraus, R. A. MacDonald, and Michael Steinore earned a for Best , honoring the innovative miniature work and photographic effects that depicted battles and explosions with striking realism despite wartime material shortages. The film did not secure any wins, as the awards went to competitors like The Bells of St. Mary's for Best Sound and for . These nominations underscored the movie's strengths in technical execution within a crowded field of war dramas and prestige pictures, including nominees like The Story of G.I. Joe and , which also vied for attention amid post-war reflection on themes. The recognition highlighted director John Ford's commitment to , informed by his own Naval service, though the film's somber tone and focus on defeat limited its broader competitive edge against more triumphant narratives. Beyond the Oscars, They Were Expendable garnered a for Best Performances of the Month in February 1946, acknowledging the ensemble's portrayals of resilient naval officers led by Robert Montgomery and .

Cultural Impact and Restorations

The film They Were Expendable significantly influenced subsequent depictions of operations in American media, paving the way for later works like the 1963 biographical drama PT 109, which echoed its portrayal of heroic, high-risk naval engagements in the Pacific Theater. This legacy extended to through parody, most notably in the 1960s television series , which humorously reimagined crews as mischievous misfits aboard the fictional PT-73, drawing directly from the film's romanticized image of these vessels and their operators. The movie also shaped public understanding of PT boats' role in World War II naval history, elevating their status from utilitarian craft to symbols of daring innovation and sacrifice, which contributed to ongoing interest in their preservation at institutions like the National Museum of the U.S. Navy and the PT boat exhibit. In academic contexts, the film is frequently studied in film courses for its representation of heroism and the human cost of early Pacific campaigns, highlighting themes of duty amid overwhelming odds. Preservation efforts have ensured the film's accessibility across formats. In the 1990s, MGM/UA Home Video released a cleaned-up print on VHS, marking an early home media effort to restore its visual clarity for postwar audiences. Warner Archive Collection followed with a high-definition Blu-ray in 2016, sourced from a 2K scan of the original fine grain master, which addressed previous transfer issues and delivered enhanced and detail. The film's enduring relevance is evident in its inclusion among lists of essential war films, such as those compiled by military historians and veterans' organizations, and in contemporary analyses linking PT boat tactics to modern , where small, agile forces challenge superior adversaries. Legacy events include periodic screenings at historical venues and naval heritage sites, underscoring its role in commemorating lesser-known aspects of U.S. maritime contributions to the war.

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