Patton (1970)

This splendid biopic can be viewed as both a tribute to the indomitability of the fighting man and a satire on the myth of the American hero. The bedrock is George C Scott's performance combining blimpish bluster with moments of monstrous ego and unexpected humanity.

Ebert views it as a hard-line glorification of the military ethic embodied by a man whose flaws suited him to battle, with one of the most uncluttered war-movie canvases and a sublime performance by Scott that fulfills both actor and character. Schaffner’s direction emphasizes sweep over personalization.

The critic sees the film as an enduring two-fisted American classic that can be read as either pro- or anti-war. He singles out the slyly subversive and weirdly comic flourishes in the depiction of Patton as an insane, overgrown Boy Scout undone by hubris and ego.

The forceful personality of the military legend is masterfully conveyed by George C Scott in this biopic. The screenplay is terrific and the battle sequences energetic, though it bends a few facts.

The film memorably shows that while the immorality of war deserves no glorification, some warriors cannot be denied it. It belongs to Scott's great, multifaceted performance as the warrior temperament in action.

It took until 1970 for a really titanic American film about the war. With a magnificent script by Francis Ford Coppola and inspired casting choices, Patton deserved every one of its seven Oscars.

The critic calls it a terrific biopic of Gen. George S. Patton Jr. that forges a successful path between cliché heroics and contemporary put-downs while exposing the strengths and weaknesses of war leaders. Scott’s performance is outstanding and Schaffner’s direction lends realism, authenticity, and sensitivity with strong action and production values.

The film holds up as a remarkably intelligent and illuminating biography of a warrior. Scott delivers an awesome performance as the brilliant, rage-filled general.

Champlin praises this unconventional war movie full of battle noise and action that gives comfort to neither hawks nor doves. It is a strong portrait of a complicated, contradictory man, impeccably directed with momentum and depth.

Canby describes the film as a loving, semi-official pop portrait of a brilliant but unstable, war-loving general who saw himself as a divine instrument, noting its grandeur, meticulously staged battles, and strong central performance. It is a typical example of a production in which the studio is the real auteur.

As a study of power, neither Coppola's script nor Schaffner's direction are precise enough to merit the praise that has been heaped upon them. As an exercise in biography, however, the character study of General George S Patton is marvellous, especially in its sideways debunking of the American Hero, mirrored in George C Scott's superb performance.

Kael finds the film technically impressive in its imperial scale and long shots but manipulative and unsatisfying, playing Patton both as hero and maniac without resolving key issues or providing enough context to evaluate him. Scott’s magnetic performance dominates, but the movie ultimately validates the war lover as a compelling figure.