🎦 The Bridge on the River Kwai full movie HD download (David Lean) - Drama, Adventure, War. 🎬
The Bridge on the River Kwai
Drama, Adventure, War
IMDB rating:
David Lean
William Holden as Shears
Alec Guinness as Colonel Nicholson
Jack Hawkins as Major Warden
Sessue Hayakawa as Colonel Saito
James Donald as Major Clipton
Geoffrey Horne as Lieutenant Joyce
André Morell as Colonel Green (as Andre Morell)
Peter Williams as Captain Reeves
John Boxer as Major Hughes
Percy Herbert as Grogan
Ann Sears as Nurse
Heihachiro Okawa as Captain Kanematsu (as Henry Okawa)
Keiichirô Katsumoto as Lieutenant Miura (as K. Katsumoto)
Storyline: The film deals with the situation of British prisoners of war during World War II who are ordered to build a bridge to accommodate the Burma-Siam railway. Their instinct is to sabotage the bridge but, under the leadership of Colonel Nicholson, they are persuaded that the bridge should be constructed as a symbol of British morale, spirit and dignity in adverse circumstances. At first, the prisoners admire Nicholson when he bravely endures torture rather than compromise his principles for the benefit of the Japanese commandant Saito. He is an honorable but arrogant man, who is slowly revealed to be a deluded obsessive. He convinces himself that the bridge is a monument to British character, but actually is a monument to himself, and his insistence on its construction becomes a subtle form of collaboration with the enemy. Unknown to him, the Allies have sent a mission into the jungle, led by Warden and an American, Shears, to blow up the bridge.
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The greatest Anti-War, no, the greatest War movie ever, bar none!
Although I heard several times the quality of The Bridge on the River Kwai, no review can prepare you for the sheer jaw-dropping, absolute perfection that this movie is.

The movie, set in World War II, begins with a pan down to a batallion of British soldiers whistling a very recognizable tune, and marching in step into a Japanese POW camp in the jungles of modern-day Burma. The camp is run by Colonel Saito, played by Sessue Hayakowa, a part-time artist and wine connoisseur, and full-time prison warden and sadist. Colonel Saito tells his captives, members of the Royal Armed Corps of Engineers, that they must build a rail bridge over the Kwai River, or be executed "without honor". He also orders the officers of the corps, led by Colonel Nicholson, played by Sir Alec Guiness, to assist in the manual labor. Colonel Nicholson resists, citing a book of the rules of warfare written by the League of Nations forbiding captured officers to serve manual labor. In honorable protest, they stand at full attention in a hunger strike for a full 24 hours until Colonel Saito relents.

Colonel Nicholson goes to the construction site and realizes that the bridge should be built on more solid ground further downstream. He convinces Colonel Saito that they should build in another site. If his men are being forced to work, Nicholson argues, they will work to build the best possible construction. During the second construction, an American soldier Shears escapes the camp and ends up in Ceylon, a British Territory at the time. His British liberators use him and his knowledge of the project, and they assemble a small team to go back to the bridge to destroy it.

And therein lies the conflict. In most movies, there is a person or group that you can "root" for without conviction, like the Americans in Saving Private Ryan. If you root for Shears and his team, they are destroying something that their countrymen slaved hard labor to build. Rooting for Nicholson means you are upholding the Japanese in their goal of expansion. Even Saito, although very brutal, is honorable. He fights and does what he does for his country, not his own glory. Honor is usually a virtue, but here it is a fatal flaw. The pointlessness of war becomes completely apparent. Pardon the cliche, but there are no winners in this movie, or in war, just degrees of losing. Two points drive this home. The first is Shears's exclaimation "...you're all worrying about the proper way to die, when you should be worrying about the proper way to live!" The second is after the bridge is completed, Colonel Nicholson gives a final lookover and sets a placard on the bridge that states that although it is under a Japanese flag, it was build by the hard work of the Royal Armed Corps of Engineers. The final end sequence is totally gripping, and one that you will never forget.

This movie won 7 Oscars, and it deserved every one. Every element, the plot, acting, characterization, editing, is stunning. The cinematography of the jungle and the bridge itself is among the best ever, and is a real treat in widescreen. It's 2:45 running time will amaze you when you realize it after you are over, because it doesn't seem the least bit overlong. Even the visual effects do not seem dated, and it was made over 40 years ago. I don't give out 10's very often, but this movie more than earns it. There are absolutely no flaws in this movie, and is director David Lean's (Dr. Zhivago, Lawrence of Arabia) masterpiece and is truly timeless. A perfect movie that marries blockbuster entertainment with cinematic artistry, this should not be missed. And you'll be whistling that tune for days after seeing it.
They don't make movies like this anymore.
I recently saw The Bridge on the River Kwai at the Cinerama Dome, and it was quite spectacular. Unlike some of today's grand adventure films, you get to know the characters along with seeing great scenes of acting and cinematography. Alec Guinness is at the top of his form as the single minded Colonel Nicholson. The scene between Nicholson and Saito in Saito's hut is remarkable. Nicholson still will not concede defeat, he even takes offense that other officers of different armies gave in and worked alongside the enlisted men. Saito can't understand Nicholson's acceptance of his punishment, and it drives him crazy. The film's plot has two stories that are beautifully intertwined. Shears' return to the bridge is his only way to escape the bridge. In the film's final act, the tension is turned up as the British commandos try to blow up the bridge, and a train, and only then does Nicholson realise what the bridge really is. The Bridge on the River Kwai is one film that is hard to top, the only film able to do that is Lawrence of Arabia, both directed by the meticulous eye of David Lean. One director who could put intimacy in epic circumstances.
Greatly entertaining film, but ignore everything it tries to tell you
This film is a great piece of fiction, and it will no doubt entertain most people who see it. However, it could not be more historically incorrect and considering what these prisoners actually lived through, it is nothing short of a crime that their story has not been told to a general audience and they are left with this sad piece of fiction. If you can, find a few of the Australian, British, American soldiers that lived through this horrible, horrible experience and ask them what they thought of the film. Most will tell you that it spits on the memory of the soldiers that did not return. If you are really interested in this story, pick up a history book and leave this film alone. If you watch it, don't take it seriously and ignore everything it tries to tell you.

As a piece of entertainment: 8.5 / 10 As a piece of history: 2.0 / 10
Sir Alec Guinness (1914-2000)
August 7, 2000: I just want to say how sorry I am to hear of

the passing of Sir Alec Guinness. He was always one of

my very favorite actors, and he always astounded me with

his quiet, understated brilliance. From the Ealing comedies to "Star Wars" to his late work for British television, Sir Alec never ceased to endow his characters

with charm and muted nuance. But of all his performances, his Colonel Nicholson in "Bridge on the River Kwai" remains perhaps his most remarkable achievement. So, it's fitting that this is the film for which he

received his Academy Award. Film-goers around the world

are very fortunate that Alec Guinness left behind such a

large and impressive body of work.

Good night, sweet prince, and flocks of angels sing thee to

thy rest.

oldie but goodie morality play
"The Bridge on the River Kwai" is well over half a century old. Both visuals and sound have been thoroughly restored, so that current electronic prints are quite nice.

It's a "war film" ...and it's also an "anti-war film" It's about individual characters more than the larger conflict. In both these regards it seems to me most similar to "Apocalypse Now" ...except ending with "Madness, Madness" rather than "The Horror, The Horror".

It's a ripping good yarn. Even though many individual moments and scenes seem "hokey" these days, somehow they all add up to something that will hold your attention for hours.

Although it's not an "epic", and although it's shot on standard 35mm film, there are already suggestions here of what we'd see in "Lawrence of Arabia". Even half a decade earlier, here David Lean showed that he was enamored of shooting on location, shooting huge vistas, and shooting in a very wide format.

I think one of the reasons the film still speaks to us is its considerable ambiguity. Did Nicholson fall accidentally on the plunger, or did he do it intentionally in a last cry of remorse? Did Saito intend the knife for a possible but unlikely ritual suicide, a certain ritual suicide, or to kill Nicholson once he'd fully served his purpose? Did Warden throw his weapon in a temporary fit of frustration, or as the first sign of a permanent decision to have nothing more to do with war? Did the women express revulsion at the deaths of men they were fond of, or at the realization of just how violent war was? ...and many more.

The film was adapted from a book, except with the ambiguity ramped up, a character added, and different subplots emphasized. The book in turn was _loosely_ based on some real events the French author had no first hand involvement in (and may have even wanted to portray the British in a poor light).

There are many things that one may accept in the moment, but that after a bit of reflection can't possibly be real: Temporary reassignment of a soldier to the army of a different country - A British medic running his own hospital with no supervision, having his own building, and making his own independent decisions about who could work and who could not - The Japanese not having sufficient engineering talent to design and build a permanent bridge - Prisoners often allowed to whistle a tune that was very derogatory to the Axis - Inmates in a Japanese prison camp appearing in good health, with good uniforms, and at normal weight - Inmates in a Japanese prison camp arranging their own entertainment ceremonies - Nicholson staying alive in an unventilated corrugated steel box in full sun in that torrid climate for many days - The Japanese commandant giving in to the British prisoner officer without any advance agreement on getting something in return - The very first detent between jailers and prisoners being in a lengthy joint meeting around a conference table, and with the prisoners controlling the agenda - A soldier with serious doubts about killing being selected as part of an elite commando unit - A sailor suddenly knowing how to handle a gun and how to be a commando - and more.

In fact there are so many such departures from reality I can't imagine how anyone could possibly think this film is in any way trying to pass itself off as portraying historical events. To me, it's very obviously more of an imagined morality play than a portrayal of actual events. Nevertheless there have been public questions about its historical accuracy right from the beginning. Despite its adaptation from a book, which was in turn loosely inspired by some poorly reported events, some of the characters in the film could be identified with real individuals. And some of those people were still alive. And some of them complained noisily.
Has the world gone mad?
8.5 / 10 IMDb points? 66.th best IMDb movie? Many reviewers' favourite movie of all times bar none? Has the world gone quite mad? To me it's a highly forgettable movie. I'm not really addressing those lost souls who actually enjoyed this, to quote Bill Hicks, p. o. s. film, but to warn those impressionable souls who still haven't seen it: beware! Beware this p. o. s. film!

As for the plot, this movie falls roughly into two halves; in the first we follow a contingent of British soldiers in Japanese captivity in Burma during World War II (the one with the funny mustaches). When the dastardly Saito orders the officers to work alongside their regulars -- a breach of the Geneva Convention -- he is faced off by the impeccable colonel Nicholson. Eventually Saito gives in and the British soldiers build him a magnificent railway bridge.

In the second half of the movie we follow an American soldier, Shears, who has managed to escape from Saito's jungle camp. Against his will he is sent back on a secret mission to blow up that very bridge.

At the climax, two men are pitched against each other: Nicholson, to whom the bridge is a symbol of his perseverance and supremacy, and the American, who has gone through hell and back to destroy it and do damage to the Japs.

My major problem with the movie is that colonel Nicholson is obviously a complete idiot. His nemesis Saito may be an evil sadist, but at least he has a weak and human side as well. He is a pudgy little fellow who's been to art school, but now has to make do as a CO. My heart went out to him, whereas I fail to see how anyone can sympathise with the blimpish Nicholson.

It's only after the bridge has been completed that a single officer mildly questions the wisdom of building the most magnificent bridge of all times for the Japanese, who are, after all, not exactly their allies. And I never saw what was so unethical about officers working alongside their troops in the first place.

Apart from that, it's a pretty conventional, John-Wayne-style war movie. The enemy is inscrutable and evil, Asian women are almond-eyed, servile foxes, the soldiers are undyingly loyal and war is hell but fun (in a rough, it's-a-man's-world sort of way). The production is excellent but overall it's a very dated movie. I'm surprised how anyone would consider this a classic rather than just an old movie. Its only benefit is that it allowed director David Lean to make Lawrence Of Arabia.
one of the quintessential POW/WW2 movies, with unforgettable characterizations
What does it mean to be a solider versus a prisoner? How about the meaning of a Colonel's duty, pride, and everything in a male-centric view in times of war? And really, what everything seems to come down to- in the case of The Bridge on the River Kwai- is that priorities end up being eschewed with moral ambiguity and heroism in the oddest circumstances. David's Lean's masterpiece takes a compelling look at men who wont give in, and when they do they somehow lose a piece of themselves in the process- a big part really depending on point of view &/or country- and how being ultra-tough and stubborn and headstrong may get you killed for the wrong reasons. Colonel Nicholson (Sir Alec Guiness in a very well deserved Oscar winning turn) and Colonel Saito (Sessue Hayakawa, who is actually a really great actor as well) both don't want to give in when Nicholson arrives at Saito's camp, and refuses adamantly to work alongside the fellow soldiers on the bridge- he sees it's against the Geneva conventions, and makes it a point of principle not to do it. He's put away for a while, but then finally Saito can't take the stubbornness any more- as he knows he's been evenly matched perhaps- and has no choice (ala seppuku if not achieved) but to let him direct the building of the bridge. But what this turns into for Nicholson, as a further elongation of the principle of the matter for his men and the situation, into a really mad situation.

So in this there is also the other main section of the story, where the idea of what it is to have principles starts to pick up via 'Major' Shears (William Holden, the conventional 'star' who grows more interesting in the second half). He's not really a major, but he's done in a quasi-cowardly quasi-pragmatic move to take a major's place when taken prisoner in the camp. When he achieves escape, however, he's caught between a rock and a hard place when he has to go with Major Warden (also a headstrong, 'war is a game' character played by Jack Hawkins), otherwise he'll be dishonorably discharged as an impersonator, already with a criminal record. There's a pivotal scene when he and Warden are on their way to the bridge, which undercuts the whole bond between Nicholson and Saito, when Warden wants to be left for dead after injuring his foot. Does it make more sense to hold one's own sense of duty to a mission, or to one's self, or not? What becomes Shears's gain- a sense of obligation as opposed to being a 'have no choice' scenario- becomes Nicholson's loss. The bridge to Nicholson becomes something abstracted from what is really going on, and his original ideal of not giving in to being a prisoner becomes muddled, leading up to that incredibly tense, maddening climax where his final words punctuate it all: "what have I done?"

But it's not all completely a serious endeavor, and what's so brilliant about Lean's approach to Boulle's material is that it's also a grand old entertainment, where the characters are rich and fully engrossing (albeit with Shears's/Holden given an obligatory "I'm the star" scene with a blond on a beach that seems from a different movie), and with a scope and direction that is just as ambitious in its own right as Lawrence of Arabia. Lean occasionally lets some visual metaphors in that do work very well (the huge flock of birds flying around, and the bridge itself being a metaphor in itself of colonial interests). But for the most part he lets the atmosphere of a war-time adventure work by itself, with the cinematography and editing sometimes working in ultra-suspenseful ways (particularly with the setting up of the wires around the bridge, and 'go time'), and in a traditional way of solid storytelling. He lets the themes work through the characters, which gives the actors a lot more to work with than with pushing it down the viewer's throat. There's a sense that the boundaries of the typical POW/war movie, particularly from a British viewpoint, are stretched and expanded, questioning the means of the main characters while still showing them, in spurts, to have great merit.

And if for nothing else, the acting's really what stands out, especially in the subtle notes and turns that seem over-the-top like with Hayakawa but are really nuanced too (he, especially, has a crux to deal with in suddenly losing his own sense of duty to country as a Brit takes over his job essentially). Guiness, meanwhile, gives something extraordinary in practically every scene, when he's either reserved or having to finally break down and show emotion (it's not the first bridge he's over-seen, hence the extra amount of pride that it'll be a "British-built" bridge). As Shears notes, there's something dangerous to a man like Nicholson who wont give in, and Guiness undercuts this dangerous quality with the elegance that he's perfect at, and then lets it become full-circle when he meets his all-too-ironic end. Holden, by the way, is also quite good here, if sort of given the almost thankless role of the star who's typically cocky, and only when finally on the mission is there some opening up in relation to Hawkins's Warden; his speech to Warden is especially engrossing.

Featuring the catchiest of all whistling in the movies, and a dynamite cast and graceful and distinctively superlative directorial vision, this is one of those rare films about war where character takes precedence over action (compared to the common war movies of the period, it's only sporadic and more suggestive in the violence), not to mention in big-budget splendor, and ends up truly memorable.
Far Ahead of Its Time
First off, what is so amazing about this film is that, for the time that it was made, how modern it looks. David Lean certainly had the eye of any modern director and managed to direct a visual masterpiece at a time when many films were still being shot in black and white.

William Holden gives one of his finest performances as a cynic of warfare , citing for us the insanity and absurdity that the combatants often convey. And he hates the war, but he cannot avoid been thrown back into it again and again. We wish he could stay on the beach with his nurse lover, but he is a man destined for a tragic doom for his country, whether he wants to or not.

Alec Guiness also delivers a fine performance as a bold general whose own pride is, at the same time, his most noble quality as well as his greatest fault. He is uncompromising, yet when the Japanese submit to his demands, he begins overseeing the construction of the bridge with great esteem. Eventually, for him, the bridge becomes a manifestation of his belief of the superiority of the British Army, which he follows like a religion. And in putting all his pride into this bridge, he loses sight of even the British's own true agenda. Truly, his sense of overwhelming honor is, at the same time, his downfall in a descent to a loss of morality, and a sense of good and evil.

And yes, by the end of this film, we learn a great lesson of the horrors of war. Not only does it take the lives of many good men, but the utter failure and despair that accompany it make it an unbearable existence. And this message has only recently been re-evaluated with the also-brilliant masterpiece "Saving Private Ryan." But, keep in mind that it took forty years to regain the power that this film inspired so long ago.
fraud in movies
I have seen this movie in 1958, and now I have seen it again after 53 years, and I have liked it the same as before. the only thing I was disgusted was the party they made after the bridge is finished, I found this ridiculous for soldiers, I say this because I serve for 7 years in the Legion, and we never will do this sort of ridiculous fiesta. the real history is nothing to do with the movie. of course I understand the producers that looks very much for the money, instead of the reallity, and I disagree totally with this matter, I prefer movies made accordingly with the true history, and the Hollywood movies they are plenty of this fiction movies, but not reality and you become very disappointed when you take acquaintance of the real history.
David Lean's first Best Director Oscar for this Best Picture Winner with a whistle
A long film about "keeping a stiff upper lip", following orders, and leadership earned David Lean his first Best Director Oscar (though Howard Hawks was originally asked to direct it). Alec Guinness received his only Best Actor Oscar; Sessue Hayakawa his only nomination. This Academy Award winning Best Picture also won for Writing, Music, Editing, and Cinematography. Added to the National Film Registry in 1997. #13 on AFI's 100 Greatest Movies list; #58 on AFI's 100 Most Heart-Pounding Movies list. #14 on AFI's 100 Most Inspiring Movies list.

Guinness is the British Officer in charge of the P.O.W.s (including James Donald, among others) being held in a Japanese camp during World War II; Holden is an American among the prisoners who's lied about being an officer for the benefits therein, but escapes shortly after the captured British 'battalion' arrives. The ranking Japanese officer (Hayakawa) tries to force all the prisoners to build a train bridge in the jungle, but loses a "battle of wills" to Guinness, who insists that officers don't have to labor per the Geneva Convention.

However, to keep his men's spirits up, Guinness agrees to build the bridge as long as he and his officers are put in charge. Faced with death if he doesn't meet the deadline for completion, Hayakawa acquiesces and subsequently "loses face". Safely in Ceylon, Holden is "found out" by a British Commando unit led by Jack Hawkins's character, and is more or less forced to join the team that plans to blow up the bridge before it can be used to assist the enemy.
📹 The Bridge on the River Kwai full movie HD download 1957 - William Holden, Alec Guinness, Jack Hawkins, Sessue Hayakawa, James Donald, Geoffrey Horne, André Morell, Peter Williams, John Boxer, Percy Herbert, Harold Goodwin, Ann Sears, Heihachiro Okawa, Keiichirô Katsumoto, M.R.B. Chakrabandhu - USA, UK. 📀