This is the fifth in Rev. Malone’s article series looking at films featuring various aspects of the Catholic church, investigating particularly the authenticity of their protrayals of Catholicism. The first installment focused on Of Gods and Men, the second on Brighton Rock, the third on Black Robe, and the fourth on Mass Appeal.
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Some years ago, I listened to a lecture on Warner Brothers films that included references to Judaism in the 1930s. Sometimes they were made in connection with Catholic references. One of the films considered, with some telling clips, was the 1940’s World War I action drama, The Fighting 69th, directed by William Keighley. It starred those two Catholic stalwarts, Pat O’Brien and James Cagney. O’Brien is again the priest and Cagney the smug rebellious type from Hell’s Kitchen.
The Fighting 69th was released in 1940, prior to America’s entering into World War Two. The setting this time is World War I and America’s part in the battles in France after 1917.
The Fighting 69th is a crack Irish regiment from New York City, with a long tradition dating back to the time of the Civil War. George Brent portrays the real-life Major Wild Bill Donovan. Pat O’ Brien portrays the real Father Duffy, chaplain to the Fighting 69th (whose statue is still in Times Square in tribute).
Many of Warner Bros’ character actors contribute to the personnel of the Fighting 69th, especially Alan Hale. effrey Lynn portrays the actual poet, the Catholic Joyce Kilmer, with several of his poems. Kilmer was killed in action in France.
Of interest is the portrayal by Sammy Cohen of Mike Murphy, a New York Jew who wanted to fight with the 69th and assumed the Irish name and accent. In one of the initial line-ups, Cagney speaks in Yiddish to Mike. But, especially effective is the way in which Fr. Duffy prays with the dying Mike – which will be mentioned below.
The film shows the training in a U.S. camp, the transfer to France, and, in quite some detail, the trench warfare, the loss of men, the difficulties of bombardment as well as a scene in a hospital which is also bombed. These scenes are quite graphic.
The focus of the action, however, is on James Cagney as the loudmouthed New York type (tough Irish Catholic). Always boasting, fighting, alienating everybody, he goes to France continuing to boast but fails under fire, sending up a flare which lights the trenches and causes the death of many of his comrades. He is court-martialled. Later, he runs away leaving his gun. He is arrested and is to be executed as a deserter. However, Father Duffy has always had faith in him, urging him along. When the hospital is bombarded, Cagney has a conversion experience and goes out to fight, with Alan Hale, firing mortars on enemy lines, being wounded and finally dying.
Of particular interest is the religious treatment of the war, Father Duffy’s work, pastoral care of soldiers. It must be one of the most Catholic films from Warner Bros during the 1930s and 40s. Fr. Duffy is a great friend with Bill Donovan, with some influence with him about the men and morale. There are scenes of confessions, Midnight Mass, the singing of “Silent Night,” the advice by Father Duffy, seeing him in prayer. He is a strong Irish Catholic priest, traditional, a soldier, mixing with the men, breaking up fights.
His pastoral concern is seen in his relationship with Jerry, trying to encourage him, having faith in him, persuading Bill Donovan to give him another chance. A surprise sequence for 1940 is the death of Mike Murphy, referred to earlier. He is wounded, Father Duffy praying with him, the Our Father, but then reciting the Shemah Israel, Father Duffy continuing in Hebrew. Before Jerry’s execution, Fr. Duffy anoints him and quotes Jesus and the Gospel, the shepherd who searches for the one leaving the ninety-nine behind.
The film ends with a rousing appeal to patriotism in 1940, showing Father Duffy, his statue, hearing his words about America as a beacon for peace – and this must be the only film which ends with the words, “Through Christ our Lord, Amen.”
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Rev. Peter Malone (MSC) has reviewed films for the Australian Catholic Office for Film and Broadcasting and served as President of SIGNIS, an organization of media professionals in the global Roman Catholic church.
