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Watching this again many years after I first saw it, I expected to be disappointed. After all, the great films of our youth sometimes turn out to be something less than we had imagined. But Mister Roberts does not disappoint. This is one of the gems of the American cinema, a poignant comedy featuring a multitudinously clever and delightful script by Frank Nugent and Joshua Logan from a novel by Thomas Heggen made into a play by Logan and Heggen that ran for many years on Broadway. The movie features sterling performances from Henry Fonda, James Cagney, William Powell and Jack Lemmon. Fonda is particularly brilliant in the kind of role from which legends are made. (He also played the part on Broadway.) You can take all your John Wayne classics and toss them overboard with the Captain's palm tree. Henry Fonda as Lt (j.g.) Doug Roberts, cargo officer of the USS Reluctant, shines forth as the noblest hero of them all. He is a quiet, strong, fair, courageous man in a story sure to mist up your eyes even if you're watching it for the twentieth time.
Jack Lemmon won a supporting Oscar for his performance as Ensign Pulver, a kind of lazy, but slyly resourceful Walter Mitty type who talks a great game but never follows through... James Cagney is the Captain, a sour, resentful man who mercilessly badgers Mister Roberts and grossly neglects the morale of his crew. He is just perfect. The way he bellows "Mister Roberts!" or way he trembles out the line, "Mister...Mister...this time you've gone too far" delights the audience. William Powell, in his last film, plays the ship's wise and ever diplomatic doc with graceful precision.
Marty (1955) starring Ernest Borgnine, a kind of politically correct (for its time) love story about ordinary folk, won the Academy's honor for best picture in 1956, the year Mister Roberts was nominated. Henry Fonda, in perhaps his most beloved and certainly one of his finest performances, was not even nominated. Incidentally, Hollywood legend John Ford directed, but fell ill and Mervyn LeRoy--no slouch himself (e.g., The Bad Seed, 1956; No Time for Sergeants, 1958, etc.)--finished up.
There are a number of memorable scenes in the film, the kind recalled with delight. My favorite involves the crew, their binoculars and the nurses. I also loved the careful concocting of the "scotch whiskey" by Doc. The weekly letters requesting a transfer, the Hoot Gibson films we (thankfully) never see, the ever worshipful palm tree, Pulver's marbles in a tobacco tin that he shakes in Roberts's face, vowing to prove his manhood by putting them in the captain's overbin, his "firecracker," his "If I could be with you/One hour tonight/To do the things I might/I'm telling you true/I'd be anything but blue," the giddy nurses, and the infamous liberty are other unforgettable bits. But more than anything, what makes this a great movie, are the indelible characters so very true to our experience, and how nicely they meld and contrast.
This is, along with From Here to Eternity, Das Boot, The Bridge on the River Kwai, The Caine Mutiny, Stalag 17, and Twelve O'Clock High, among my favorite movies to come out of World War II. What sets Mister Roberts apart is the humor born of the boredom, frustration, and tedium that most truly characterizes life in the service. In this regard I recall a saying that goes something like this: "War is filled with long stretches of boredom punctuated by moments of absolute terror." The crew of the Reluctant got only the boredom.
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