Filmed entirely on location in the Philippines with (as a Foreword is careful to point out) the co-operation of the Philippines Government and its armed forces (many of the leaders of which took an active part in the war-time guerrilla movement), American Guerrilla in the Philippines may have been a bit of a trail-blazer in its time but, seen today, it is not much different from many other films dealing with these events, such as No Man Is An Island.
This one, however, has been lensed on a lavish scale, although - aside from its shoot-out climax - the action scenes are not all that spectacular. All the same, Lang's pre-occupation with violence is evident in many scenes (the killing of Anzures, the Japanese interrogation of Torena and Miss Presle, the Japanese commander shooting a peasant who offers him a pack of American cigarettes) and his cynicism also comes to the fore in such episodes as the scene with Carleton Young as a nonchalant officer or the sequence in which Jack Elam and his confederates plunder the natives.
In other respects, Lang's direction is capable, although camera movement and frame composition are not particularly imaginative aside from some isolated shots (the boat nearly capsizing with Power at the tiller, the Japanese soldier advancing almost into the lens of the camera before being shot back).
The playing is little more than adequate, but it's interesting to see Tom Ewell, who is high up in the billing here in his second attempt at a Hollywood career (the two Willie and Joe films plus Abbott and Costello Lost in Alaska followed, after which he dropped out of sight again until his triumphant return a few years later in The Seven Year Itch). Actually, Ewell is comparatively subdued, as his part here calls for naturalistic comedy rather than exaggerated slapstick - the former certainly tones in better with the over-all mood of the film.
In her first color movie (and what was to be her second last English-language role), Micheline Presle looks very glamorous. Robert Barrat appears briefly in his accustomed part of General MacArthur. Power is his usual self. Some of the indigenous players, particularly Miguel Anzures and the unidentified actor who plays the Japanese commander, are very effective.
I am glad that Lang has the Japanese soldiers speak Japanese instead of fractured English (Hollywood's usual device in these circumstances).
The film was an unusual assignment for writer-producer Lamar Trotti, but he has brought off both the screenplay and its production with his usual capability. Though the plot is to some extent stereotyped (a fault that occurs in the original novel and has unfortunately become more obvious due to the large number of imitations the film has inspired), at least the dialogue avoids many of the usual Hollywood cliches (having the Japanese dialogue untranslated is an advantage here).
The film has been realized on an extensive budget. Both production credits and production values are first class.
This one, however, has been lensed on a lavish scale, although - aside from its shoot-out climax - the action scenes are not all that spectacular. All the same, Lang's pre-occupation with violence is evident in many scenes (the killing of Anzures, the Japanese interrogation of Torena and Miss Presle, the Japanese commander shooting a peasant who offers him a pack of American cigarettes) and his cynicism also comes to the fore in such episodes as the scene with Carleton Young as a nonchalant officer or the sequence in which Jack Elam and his confederates plunder the natives.
In other respects, Lang's direction is capable, although camera movement and frame composition are not particularly imaginative aside from some isolated shots (the boat nearly capsizing with Power at the tiller, the Japanese soldier advancing almost into the lens of the camera before being shot back).
The playing is little more than adequate, but it's interesting to see Tom Ewell, who is high up in the billing here in his second attempt at a Hollywood career (the two Willie and Joe films plus Abbott and Costello Lost in Alaska followed, after which he dropped out of sight again until his triumphant return a few years later in The Seven Year Itch). Actually, Ewell is comparatively subdued, as his part here calls for naturalistic comedy rather than exaggerated slapstick - the former certainly tones in better with the over-all mood of the film.
In her first color movie (and what was to be her second last English-language role), Micheline Presle looks very glamorous. Robert Barrat appears briefly in his accustomed part of General MacArthur. Power is his usual self. Some of the indigenous players, particularly Miguel Anzures and the unidentified actor who plays the Japanese commander, are very effective.
I am glad that Lang has the Japanese soldiers speak Japanese instead of fractured English (Hollywood's usual device in these circumstances).
The film was an unusual assignment for writer-producer Lamar Trotti, but he has brought off both the screenplay and its production with his usual capability. Though the plot is to some extent stereotyped (a fault that occurs in the original novel and has unfortunately become more obvious due to the large number of imitations the film has inspired), at least the dialogue avoids many of the usual Hollywood cliches (having the Japanese dialogue untranslated is an advantage here).
The film has been realized on an extensive budget. Both production credits and production values are first class.