"Castle Keep" is a strange sort of movie. The first three quarters are spent for the most part within the walls of an old Belgian castle before the final action.A group of eight rag tag soldiers going nowhere in particular, come upon an estate located in a strategic area, whereupon there is a large castle. The castle is owned by the Count of Maldorais (Jean Pierre Aumont). The motley crew includes three officers two sergeants, a corporal and two privates. Where they came from is unknown.Leading the group is a one-eyed Major Falconer (Burt Lancaster) who wastes no time in bedding the castle's Mistress Therese (Astrid Heeren) who is by the way, the wife/niece of the Count. Also in the group are Art loving Capt. Beckman (Patrick O'Neal), Sgt. Rossi, a baker (Peter Falk) who moves in with the local town baker's wife, Cpl. Clearboy (Scott Wilson) who falls in love with a Volkswagen, young Lt. Amberjack (Tony Bill), Sgt. Devaca (Michael Conrad), Pvt. Elk, an Indian (James Patterson) and Pvt. Benjamin (Al Freeman Jr.) an aspiring author who narrates the story.Count Maldorais manages to convince the group to defend his castle and its treasures against an expected German attack. For most of the first three quarters of the movie, the men enjoy the luxuries of their environment even to the point of going to town to visit the ladies of "La Reine Rouge". In town, the men encounter a group of burnt out veterans led by Lt. Billy Bix (Bruce Dern) who see themselves as conscious objectors.Major Falconer, in one of the most bizarre sequences, rides into town on a white horse to recruit retreating soldiers to help him defend the castle. He sees that they are shell-shocked and recruits Bix and his followers to lead the group to the castle, at which point all but Falconer are blown to smithereens.So that leaves the original eight alone to defend against the advancing Germans. Falconer will defend at all costs including the destruction of the castle, Beckman wants to fall back and thus protect the castle. What ensues is a "Wild Bunch"/"Alamo" type of battle with the predictable results.The final battle is well done but we have to wait through all of the nonsense preceding it before there's any action. Director Sydney Pollock, whom I admire, has done much better work.

If a bunch of hippies teamed up with Federico Fellini to make a WW2 film after attending an anti Vietnam war rally, it would probably look something like director Sydney Pollack's "Castle Keep".Psychedelic, surreal and zany, "Castle Keep" opens with a series of dreamy shots. Stepping into focus is Major Falconer, a gung-ho military man in charge of a small company of men. Recognising that the German Army is advancing toward a nearby town, Falconer decides to turn a medieval castle into his own private fortress; the Germans will have to destroy it and him if they wish to advance any further.Fittingly for a film released in 1969, amidst the social turmoils of then-contemporary United States, Falconer's men are a gang of Vietnam-era slackers, shirts untucked, jaded, cynical and tired of killing. Falconer, infectiously played by Burt Lancaster, is the opposite. Square-jawed and mean as hell, Falconer exists for war."Keep's" second half revolves around a series of bizarre philosophical ruminations. Falconer says he wants to preserve life, land, people and things, but everything he does brings about utter destruction. In the end, killing "the enemy", for Falconer, necessitates destroying even the things he's sworn to protect. Better the world on fire than belonging to the "enemy". Art aficionado Captain Beckman (Patrick O'Neal) argues with Falconer, pleading with him to "preserve the beauty" of the castle and its many artifacts, but Falconer ignores him. Destruction, for Falconer, is its own brand of beauty.Late in the film, it is revealed that Falconer is sleeping with the wife (Astrid Heeren) of the Count (Jean-Pierre Aumont) to whom the castle belongs. The Count allows this, as he is impotent and wishes Falconer to provide him with an heir. In this way, Falconer's brand of 20st century violence is explicitly linked to the violence of feudal Europe. Indeed Falconer, a foot-soldier of "enlightened", "democratic nations", simply preserves the barbaric seeds of the monarchists before him. WW2 was itself but an extension of 19th century Imperialism, even a bogeyman like Hitler merely replicating what European and Western colonialists had, were and still are doing in America, Africa, Asia and Oceania. More importantly, Falconer's cosying up to aristocracy echoes the past 200 years of history, in which every supposed "enlightened" superpower has sided with, funded, armed or put in power monarchs, dictators or terrorist cells, from Vietnam to Russia, Saudi Arabia to Iraq; better devils than peace.Falconer's regressive ties with the past are brought up throughout the film. "We've been here before," soldiers repeatedly state, and the idea of "eternal recurrence" is a theme which runs throughout their escapades. Elsewhere there are suggestions that our band of heroes are already dead, that their castle exits in some kind of limbo (or purgatory), and that they're merely repeating battles that have already been fought and lost. "All of us had been killed twice, sometimes three times before," one Private Benjamin outright states, "maybe that's why we were at the castle".Other surreal moments occur. Sgt Rossi (Peter Falk) states that he was a baker before he enlisted. His homecoming fantasies are realised when he seduces the widow of a local bakery. Corporal Clearboy, a mechanic in the past, likewise falls in love with a Volkswagen Beetle – an illicit affair, as it's a German machine. These love affairs mirror that of Private Amberjack, a soldier who studied music as a kid. Amberjack finds a flute which allows him to befriend a German soldier. Then there's Captain Beckman, a famous art historian who just happens to find himself in a castle containing precious works of fine art. As the film progresses, the bakery, artwork, German, flute and Volkswagen will all be destroyed. The only one who gets what he loves, seems to be Falconer."Castle Keep" echoes the counterculture-inflected war films of the 1960s and 1970s ("Catch-22", "Kelly's Heroes", "Go Tell the Spartans", "MASH", "Dirty Dozen" etc). For Pollock, war is stupid, absurd, futile and benefits only psychopaths. But whilst Pollock embraces the cynicism of his contemporaries, aesthetically his film is something else. Opening with talk of fairy tales, and sporting its own "once upon a time" narrator, Pollock constructs something dreamy, surreal and filled with odd, incongruous moments. His soldiers seem caught out of time, as though they've stepped right out of a Sam Fuller movie and into a medieval fantasy. Shot in Yugoslavia, the film features fine photography by Henri Decae.7.9/10 – Flawed, but underrated. From the mid 1950s to the 1980s, Lancaster specialised in selecting interesting material. The majority of his pictures during this period are atypical of their genre or era.

I ordered this from Daedalus books. What can go wrong with a flick with Burt Lancaster, Peter Falk and Patrick O'Neal, and directed by Sydney Pollock? Plenty, as it turns out. Rather than a straightforward war story we have here a highly symbolic and quasi-surreal flick with a script that is both pretentious and portentous, filled with "heavy" lines that are supposed to freighted with meaning. The writer evidently is a Becket or Pirandello wannabe. However most of it just falls completely flat. It is beautifully shot and gorgeous to look at but is basically a tiresome bore. Ignore all the encomia from users. Matter of fact, ignore the movie.

Clearly, Academy Award winning actor Burt Lancaster must have gotten along well with director Sidney Pollack because they made two films together: "The Scalphunters" (1968) and "Castle Keep" (1969) and Pollack contributed in the one in between, "The Swimmer," that Lancaster appeared in for director Frank Perry. A one-eyed U.S. Army commander, Major Abraham Falconer (Burt Lancaster of "Elmer Gantry), leads a squad of eight soldiers, consisting of three officers, two sergeants and three enlisted men soldiers into the Ardennes Forrest in 1944. They billet themselves in a breathtaking 10th century castle in Belgium on the eve of the historic Battle of the Bulge. The dry humor comes through the dialogue that cleverly undercuts each situation or predicament that our protagonists encounter. If fantastic photography guaranteed that a movie would be artistically great, "Night of the Generals" lenser Henri Decaë would make this the rule rather than the exception. His widescreen cinematography is a consistent treat for the eyes and the pictorial compositions are well-balanced and imaginative.Director Sidney Pollack and scenarists Daniel Taradash of "From Here to Eternity"(1953) and David Rayfiel of "Valdez Is Coming" (1971) adapted the novel by David Eastlake. "Castle Keep" emerges as a surrealistic World War II action epic. Major Falconer and his men defending the castle against an onslaught of German troops and armor. During the first half of this 106-minute movie, castle owner Count of Maldorais (Jean-Pierre Aumont of "The Siren of Atlantis") welcomes Major Falconer, Captain Beckman (Patrick O'Neal of "El Condor"), Lieutenant Amberjack (Tony Bill of "Ice Station Zebra"), Sergeant Rossi (Peter Falk of "Anzio"), Sergeant DaVaca (Michael Conrad of "Sol Madrid"), Corporal Clearboy (Scott Wilson of "In Cold Blood"), Private Allistair Piersall Benjamin (Al Freeman, Jr. of "The Lost Man"), and Elk (James Patterson of "Lilith") to the castle and hope that they will defend it from the enemy. Principally, Maldorais wants them to save his works of art and hopes that the virile Major will get his classically gorgeous wife, Therese (Astrid Heeren of "Silent Night, Deadly Night"), pregnant because the count is impotent and needs a male heir.After the Americans settle in—Falconer warms up the master bedroom with Therese, the soldiers head into town to the Red Queen brothel, while Rossi befriends the widow of a baker (Olga Bisera of Women in Cell Block 7") and starts baking bread. Captain Beckman gives lectures about the artworks in the castle. Not-surprisingly, Beckman was one an art historian. Falconer shows up in town and shows the prostitutes how to design Molotov cocktails and then throw them at German tanks when they enter town. The funniest scene involves Corporal Clearboy and the Volkswagen beetle that he finds on the premises. Late one night, two G.I.s set out to destroy the VW bug by pushing it into the moat. The bug floats so they shoot at it below the waterline to sink it. Corporal Clearboy awakens to the sounds of gunshots and scrambles for the stairs. A fellow soldier tells him to take the shortcut through another door. Clearboy opens the door and spaces on air. The door opens on the moat and the G.I. plunges into the moat, but he swims to the VW, cranks it up and drives it up onto dry land. The second half concerns the castle defense and a brief but explosive battle with tanks blasting away at the architecture as well as the Americans concealed behind it.Despite its pretentious, cool attitude toward warfare, "Castle Keep" qualifies as a traditional war movie, but it is far from conventional. The action boils down to a desperate siege with no hope in sight for relief. Indeed, some of the best World War II era films dealt with gallant last stands, such as "Wake Island," "Bataan," and "China." The Germans constitute a faceless enemy. Pollack keeps them at arm's length so we have no reason to hate them. The Americans are a cross-section of the United States and they are basically good guys who like to loaf when they get a caught. Major Falconer is a straight-up guy who does not lord it over his men. Nevertheless, despite its handsome production values, splendid photography, this World War II movie rarely generates any suspense because it the Americans are not portrayed in a sympathetic light and everything seems arbitrary. The performances are all good. Lancaster delivers a tight-lipped, no-nonsense performance as the disciplined commander with a purposeful manner. Pollack invests very little sentiment when the characters die. None of the Americans receive historic treatment. The sight of the castle burning is hypnotic. One of the most iconic character actors of the 1960 thru the 1980, perennial villain Bruce Dern turns up as a raggedly deserter who leads a religious sect. You can tell that "Castle Keep" is an anti-war movie because it refuses to glorify warfare. The problem with "Castle Keep" is that it doesn't have enough sarcasm to be a satire and it lacks exuberance in its combat sequences to be a warmongering classic. Interestingly, "Castle Keep" fails to measure up to its own—or perhaps Beckman's--definition of good art. According to Beckman, great art but disturb and awaken its audience. Sadly, "Castle Keep" neither disturbs us enough nor awakens us.