NR | 2h 47m | Action, Drama, War | 1958
“The Young Lions” and “The Longest Day” invite the most direct comparison, both in terms of their expansive runtimes and their ambitious scopes. “The Longest Day” benefits from tighter narrative cohesion and more disciplined pacing, likely learning from the scattered structure that hinders parts of “The Young Lions.”
That said, director Edward Dmytryk’s “The Young Lions” is far from forgettable. On the contrary, it stands out as a bold and unconventional war film in several respects. Chief among them is featuring two of the era’s most iconic Method actors, Marlon Brando and Montgomery Clift. Their nuanced, often internalized, performances power the film’s more introspective moments. Dean Martin, better known for his lounge act and comic timing, delivers what may very well be the finest dramatic performance of his career.
Paths Diverge at the Edge of War
The story begins in the snowy Bavarian Alps on New Year’s Eve, 1938. Christian Diestl (Brando), a German ski instructor, spends the evening with Margaret Freemantle (Barbara Rush), an American tourist troubled by Germany’s growing ambitions. Alarmed, Margaret returns to New York and to her boyfriend, Broadway star Michael Whiteacre (Martin).When America enters the war, Whiteacre meets Noah Ackerman (Clift), a quiet, Jewish store clerk, at the draft office. Whiteacre tries to dodge service, but Ackerman accepts conscription. Their bond grows, especially when Whiteacre introduces Ackerman to Brooklyn native Hope Plowman (Hope Lange). Noah’s earnest courtship, including gaining the trust of her skeptical father, adds heart to the narrative as he endures anti-Semitic abuse during training.
Diestl, now a German lieutenant in occupied Paris, serves under the cold and calculating Capt. Hardenberg (Maximilian Schell). Dissatisfied with his duties in Paris, Diestl asks for combat duty, but first receives an unusual order: deliver a gift to Hardenberg’s wife back in Germany.
This errand leads to an affair with Hardenberg’s wife Gretchen (May Britt), further complicating his internal conflict doubting the Nazi ideals. Later, Diestl and Hardenberg are both deployed to North Africa, where the brutality of war and a growing sense of moral erosion shake Diestl’s ideals.
Three Men, One War, No Clear Victory
“The Young Lions” isn’t a bad film. It’s just a beautiful mess with great actors trying to shine through the fog. Based on Irwin Shaw’s 1948 novel, it attempts to balance three wartime journeys: a disillusioned Nazi, a Jewish draftee, and a reluctant playboy soldier. Unfortunately, the clean narrative threads of the book get frayed in adaptation.Brando’s character arc is compelling. Lt. Christian Diestl shifts from bright-eyed idealist to guilt-ridden deserter. He wanders occupied Paris, mumbles in a German accent, and stares into the existential void. Brando’s charisma holds strong, even if the script gives him too much soul and not enough structure.
Clift’s Noah Ackerman is the sensitive man in the mix—shy, intellectual, and Jewish—facing anti-Semitism from his own comrades. Fresh from his car crash, Clift appears older and more fragile than “The Young Lions” suggests, yet his performance is tender and heartbreaking. He brings quiet dignity to each scene, whether it’s a restrained goodbye to Hope Lange or enduring the brutality of combat.
Martin, charming as ever, plays Mike Whiteacre with utmost skill—a crooner caught between cocktail parties and foxholes. Though his character disappears for long stretches, Martin holds his own and even shows a few glimmers of depth.
The biggest cinematic tease? Brando and Clift, two titans of Method acting, never share a proper scene. They’re in the same sequence near the end but not in the same frame, as if dangling filet mignon in front of you, then giving you spam instead.
“The Young Lions” has flashes of brilliance. Although flawed, it’s ambitious and undeniably watchable. This is a war film where the greatest battles are internal, and the biggest casualty is narrative cohesion.
