It's never a promising sign when you find yourself checking the time to see how much of the film is left to go. I did that with this one, only 32 minutes in....which means I still had 90 minutes more of this train wreck. And believe me, at times it is a train wreck. Those reviewers on here giving this 8, 9 or 10 stars could use some introspection.What am I talking about? Well let's see...in the first 30 minutes, we watch the "hero," Al Schmid, kiss a preteen girl on the lips (his best-friend's daughter), then tell her that in 5-6 years he will marry her. If I did that to my best friend's daughter he would punch my lights out (and rightly so) before calling the police and reporting me for being a child predator. Then, Al is set up on a blind date with a woman named Ruth, apparently against his will, so his way of dealing with the situation is to attempt to loudly belittle and disparage his date in a bowling alley for all to hear. Quite mature for our hero, wouldn't you say? The next day he realizes the error of his ways....so he decides to make it up to her. How? By confronting her at a public bus stop and telling everyone present that she has abandoned their boy and is seemingly guilty of child negligence. Never mind the fact that they are not a couple and there is no child, he is making the whole thing up to shame her in front of a group of strangers. What an honorable guy, this Al. But she inexplicably gets in his car, anyway, instead of telling him to get lost, and he proceeds to drive her home. When he learns there is another man waiting at home to take her out on a date, he purposely crashes his car into the other man's in a fit of rage, anger and/or jealousy. And quite laughably, shortly after this incident Ruth decides "wow this is the guy for me!" It was at this point I looked at the time because I was saying to myself "how much more of this nonsense can I take?" Keep in mind you as the viewer are supposed to look upon the actions of Al as commendable - he is the subject of the film - the "Pride of the Marines." So the protagonist - our hero - is an ill-tempered, pompous, creepy, impulsive liar. And you are supposed to be sympathetic towards him...it is that bad.Not helping matters is the misleading title. Of the two-hour running time, only about 20 minutes concerns Al's active duty in the Marines. The rest is spent either establishing his "courtship" of Ruth (cough cough) or the bitterness he feels after suffering injuries in battle (about an hour and the bulk of the film). In between there is one action sequence set in Guadalcanal from which the film gets its title (I suppose). So dispel the notion that this is a war film or an action film, it is largely neither. It's a rather shoddy attempt to engender pride and rouse patriotic fervor, as this was produced in the latter stages of World War II. However, the callous and indifferent way Al treats other people, especially those close to him, both before and after that battle sequence is actually quite despicable and not worthy of anyone's pride. This film is based on a real person named Al Schmid. I can only hope the real Al wasn't as much of a cad as the one portrayed here. Ouch.

Being from the Philadelphia suburbs and extremely interested in local history, this film provides an excellent vintage view of Philadelphia in the 1940s. There are scenes of downtown, a train station that no longer exists, 30th Street Station--which still does exist, as well as scenes from the Northeast part of the city. Good shots of the old row-homes as they appeared then. The movie gets a bit "chatty" at times - causing the viewer to briefly lose interest...but the overall storyline is solid and very moving. Anyone who enjoyed this movie should also try to see the film "Bright Victory", also with local footage of the Valley Forge Army Hospital in Phoenixville, PA - and scenes from downtown Phoenixville. The Army Hospital has since become a college campus. Neither of these films are out on any format and I can't imagine why. I have them both on VHS from home recording, as shown on TCM in recent years. I highly recommend them to any other history buffs out there from my area!

Having seen this film about 20 years ago, but I was impressed to find it even more moving when viewed today. John Garfield and Dane Clark gave two of their finest performances in this movie about a Marine blinded on Guadacanal. This story of survival is told in a realistic mixture of the brutal, the bitter and the enduring spark of hope that make living, rather than dead heroes. Some would surely disagree, but I can't help but think that some of the guys who find themselves in Walter Reed and other veteran hospitals recovering from their today's war wounds might get a great deal out of this beautifully acted--and seldom shown--"period piece". It's a pity it's not on dvd/vhs. WHY??

This former Leatherneck appreciates more and more through the years John Garfield's gut-wrenching performance in the docu-drama PRIDE OF THE MARINES (1945), the true story of war hero Al Schmid who was blinded in combat on Guadalcanal by a Jap grenade. The picture, released a year before BEST YEARS OF OUR LIVES, was the first movie to deal in depth with the problems faced by returning vets. Scripted by Albert Maltz, who would eventually be jailed as one of the Hollywood 10, the film would catch major flack from Red-baiters at decade's end because of its politically-charged dialogue in one scene set in a veterans hospital, during which embittered soldiers forcefully voice both their hopes in and suspicions of a post-war society.The three layers of plotline dramatize an accurate microcosm of American life during a pivotal time period. PRIDE explores in its pre-war first part Garfield's lower-class, working-man roots as only he could portray urban struggles and dreams during the Great Depression. The harrowing middle portion, claustrophobically confined to a cramped and stinking Pacific island foxhole (shared with Dane Clark and Anthony Caruso to form a 3-man machine gun team), graphically captures the fears and horrors of war as few films have.But it is this citizen/soldier's readjustment in the final sequences, aided by compassionate nurse Rosemary deCamp and home-town fiancee Eleanor Parker (in a performance worthy of a Supporting Oscar nomination) that really packs an emotional wallop. Doubting his self-worth, lost in a sightless world (his post-operative cry of "Why don't God strike me dead!" is chilling), and struggling to comprehend the difference between love and pity, Garfield's perfectly modulated performance combines all the elements of his unique persona (rebellious icon, tough guy, romantic leading man, idealistic spokesman).Given his devotion throughout the war years to the Hollywood Canteen that he and Bette Davis created, the story must have been very close to his heart. This may be his finest screen role in a career filled with meaningful performances.