Patton-Special Edition (1970)

Chicago Sun-Times
"...One of the best American movies....A great film....The opening shot is a stunner..." 07/03/2002 p.44

USA Today
"...[PATTON] still mesmerizes on the strength of George C. Scott's chew-your-behind performance as George S. Patton..." 11/05/1999 p.6E

Uncut
"[A] riveting portrayal of rampant egomania with Scott fully deserving of his best actor Oscar." 08/01/2001 p.140-1

Total Film
4 stars out of 5 -- "It's certainly a great performance from Scott, a seamless, pity-free portrayal." 06/01/2006 p.132

VideoHound's Golden Movie Retriever 8 of 10
Lengthy but stellar bio of the vain, temperamental American general who masterminded significant combat triumphs during WWII. "Old Blood and Guts," who considered himself an 18th-century commander living in the wrong era, produced victory after victory in North Africa and Europe, but not without a decided impact upon his troops. Scott is truly magnificent in the title role, and [Karl] Malden shines in the supporting role of General Omar Bradley. Not a subtle film, but neither is its subject. Interesting match-up with the 1986 made-for TV movie The Last Days Of Patton, also starring Scott.
 
Leonard Maltin's Movie & Video Guide 9 of 10
Milestone in screen biographies; [George C.] Scott [is] unforgettable as eccentric, brilliant General George Patton, whose temper often interferes with his command during WW2. Malden [is] equally impressive as General Omar Bradley in intelligently written, finely wrought biographical war drama. - Leonard Maltin
 
ReelViews 10 of 10
With its larger-than-life, yet at the same time singularly human, portrayal of Gen. George S. Patton, Jr., Franklin Schaffner's picture is an example of filmmaking at its finest. From production design and battle choreography to simple one-on-one dramatic acting, Patton has it all. There is no scene in all one-hundred seventy minutes that doesn't work on some level...Those who have not seen Patton, or who have not watched the film carefully, might assume that this movie is about World War Two and one of its most celebrated generals. In fact, they would be only partially correct. What Patton sets out to do is to demythicize its subject and show the forces that drove this man...Brilliant tactician, merciless disciplinarian, tireless fighter, prima donna, and staunch patriot - Patton was all of these things and more. Life for him was the battlefield, and without war, his spirit was sapped. The German military recognized this when they noted that Berlin's fall would finish him. Patton was an anachronism - a man who belonged in another time. He was a warrior living in a time when victory in battle no longer meant the triumph it once had, a Roman conqueror who understood the meaning of the words that "all glory is fleeting." Above all, however, he was an icon whom millions cheered, millions hated, and few understood. - James Berardinelli
 
Chicago Sun-Times 10 of 10
"Patton" is not a war film so much as the story of a personality who has found the right role to play. Scott's theatricality is electrifying. As Patton he always stands up in his Jeep, loves making speeches, grandstands, plunges into the action to personally goad his men, even directs traffic. There is a touch of the manic about him. He seems to have no personal life...Franklin Schaffner (1920-1989) was a master of bold, uncluttered canvases. After a start directing live television in the 1950s, he made dramas (including "The Best Man," one of the best Hollywood films about politics) before finding his natural footing with epics such as "The War Lord" (1965), "Planet of the Apes" (1968) and, after "Patton," "Nicholas and Alexandra" (1971) and "Papillon" (1973). His "Patton" is one of the most uncluttered of war movies, devoid of side plots, colorful supporting characters and "human interest." There are no individual soldiers whose adventures we follow, and the battle scenes are seen in long shot, not personalized; they have the sweep of Victorian canvases instead of the hand-to-hand intimacy of "Platoon," "Saving Private Ryan" or "We Were Soldiers." Even the Bradley character has no purpose other than to admonish, support and puzzle over Patton--to stand there and look at him. The movie sees the war as Patton saw it, as Patton's story. - Roger Ebert