At War with the Army

Plot

Sergeant Vic Puccinelli (Dean Martin) and Private First Class Alvin Korwin (Jerry Lewis) are former nightclub partners who find themselves serving together at a stateside Army post during peacetime. Puccinelli, frustrated with his dull assignment and desperate for action overseas, constantly schemes to get transferred to active duty, while his bumbling friend Korwin only wants a pass to visit his wife and new baby. The film follows their misadventures as they navigate military bureaucracy, with Puccinelli attempting to impress his commanding officer and Korwin creating chaos through his incompetence. Their contrasting personalities and goals lead to a series of comedic situations involving military inspections, medical examinations, and various schemes gone awry. The story culminates in a frantic finale where both characters pursue their respective goals, ultimately learning something about friendship and duty in the process.

Historical Background

Released in December 1950, 'At War with the Army' emerged during the early Cold War period and the beginning of the Korean War. The film reflected America's ongoing fascination with military life following World War II, while also capturing the post-war desire for escapist entertainment. The early 1950s saw the rise of television as a competing medium to movies, prompting studios to create films that offered experiences television couldn't match. Martin and Lewis represented a new type of comedy team that bridged the gap between traditional vaudeville and modern entertainment. Their film arrived at a time when Americans were dealing with McCarthyism, the Red Scare, and growing Cold War tensions, making their lighthearted comedy a welcome distraction. The movie's military setting also resonated with audiences who had family members serving in Korea or who remembered their own WWII experiences.

Making Of

The production of 'At War with the Army' marked the transition of Martin and Lewis from nightclub performers to movie stars. Their chemistry was so evident during filming that Paramount executives immediately recognized their potential as a film duo. Director Hal Walker, who had previously worked with Abbott and Costello, was brought in to handle the military comedy format. The filming process was often chaotic due to Lewis's tendency to ad-lib and Martin's more structured approach to comedy. Despite their different working styles, their on-screen partnership clicked perfectly. The movie was shot quickly to capitalize on their current popularity from their radio show and nightclub performances. Many scenes were improvised on set, with Lewis creating physical comedy bits that weren't in the original script. The success of this film established the template for their subsequent movies, with Martin playing the smooth romantic lead and Lewis as the zany, childlike sidekick.

Visual Style

The cinematography by Stuart Thompson employed standard Hollywood techniques of the era, utilizing the studio system's efficient approach to comedy filming. The visual style emphasized clarity and composition to showcase the physical comedy, particularly Jerry Lewis's elaborate pratfalls and facial expressions. The military setting allowed for symmetrical compositions and orderly framing that contrasted with the chaotic comedy. The film used typical three-point lighting to ensure the stars looked their best, with special attention to Dean Martin's romantic scenes. The camera work was functional rather than innovative, focusing on capturing the comedy effectively rather than creating artistic visuals. The cinematography successfully balanced the film's dual nature as both a comedy and a musical, ensuring both the physical gags and Martin's musical numbers were presented clearly.

Innovations

While 'At War with the Army' was not particularly innovative technically, it demonstrated efficient studio production techniques of the era. The film utilized Paramount's existing soundstages and backlot facilities, showcasing the studio system's ability to produce quality films quickly and economically. The sound recording effectively captured both dialogue and musical numbers, a technical challenge given the film's mix of spoken comedy and singing. The editing by Archie Marshek skillfully timed the physical comedy sequences, particularly Jerry Lewis's elaborate gags, ensuring maximum comedic impact. The film's makeup and costume departments created convincing military uniforms and appearances while allowing for the comedy to shine through. The production's use of actual military locations added authenticity that wouldn't have been possible with studio sets alone.

Music

The musical score was composed by Joseph J. Lilley, who created upbeat, military-themed background music that complemented the film's comedic tone. Dean Martin performed two musical numbers: 'I'll Always Love You' (a romantic ballad) and 'The Tickle Toe' (an upbeat jazz number). These songs showcased Martin's smooth singing style and served as showcases for his talents beyond comedy. The soundtrack also included various military marches and period-appropriate music that enhanced the Army setting. The musical sequences were integrated naturally into the narrative, with Martin's character often breaking into song during appropriate moments. The score utilized typical 1950s orchestral arrangements with brass and woodwind sections prominent in the military-themed pieces.

Memorable Scenes

• The chaotic medical examination scene where Jerry Lewis's character attempts to fake various illnesses to get a pass, resulting in physical comedy with tongue depressors and reflex hammers.
• The mess hall sequence where Lewis tries to eat while simultaneously hiding from his sergeant, leading to food flying everywhere and military precision completely breaking down.
• The final scenes where both characters desperately try to achieve their goals - Martin getting his transfer and Lewis getting his pass - culminating in a frantic race through the army base.
• The opening scenes establishing their contrasting personalities as Martin smoothly handles military protocol while Lewis fumbles with even the simplest tasks.
• The scene where Lewis attempts to use the field telephone, getting tangled in wires and accidentally connecting multiple conversations in a classic comedy of errors.

What Critics Said

Contemporary critics were generally positive about 'At War with the Army,' though many noted that it was formulaic. The New York Times praised Martin and Lewis's chemistry, calling them 'a fresh and welcome addition to screen comedy.' Variety noted that while the plot was thin, the stars' performances more than compensated. Modern critics have reassessed the film as an important historical document marking the beginning of the Martin and Lewis phenomenon. Some contemporary reviewers have criticized the film for its dated humor and simplistic plot, while others appreciate it as a product of its time that successfully captured the duo's early energy. The film is now generally regarded as a solid debut that established the foundation for their more polished later works.

What Audiences Thought

Audiences in 1950 embraced 'At War with the Army' enthusiastically, turning it into a surprise hit that exceeded box office expectations. The film's success was largely driven by Martin and Lewis's existing fan base from their radio show 'The Martin and Lewis Show' and their nightclub performances. Moviegoers were excited to see their favorite comedy team on the big screen, and the film delivered exactly what they expected: lighthearted entertainment, musical numbers, and plenty of laughs. The movie played to packed theaters across the country, particularly in urban areas where Martin and Lewis were most popular. Audience word-of-mouth was extremely positive, with many viewers returning to see the film multiple times. The strong reception convinced Paramount Pictures to invest heavily in future Martin and Lewis vehicles, making them one of the studio's most valuable assets throughout the decade.

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