In the early 50s, Audie Murphy and his ghost writer published a book of Murphy's unbelievable exploits in Italy, France, and Germany during World War II. Murphy, still in his teens, won about every decoration for valor that the human mind can dream up -- and he earned them too. The experience wrecked him. He made movies later in his life, always boyish looking and modest sounding. But he suffered from PTSD. He was tormented by nightmares of firing an M-1 at attacking Germans and having his rifle fall apart, piece by piece. He slept with a Colt pistol under his pillow and attacked another man with a baseball bat. His many medals were stashed in disarray in a drawer. He died in a plane crash.

Hollywood has taken this man's remarkable story, lifting pieces of it from his memoirs, left out the most poignant passages and twisted Murphy's remaining heroics into pablum. An example of what I mean. In the book, written in the present tense, Murphy describes his first encounter with the enemy and sees one of his targets fall. "Now I have killed," he writes, and goes on to explain his emotions.

No room for any such ruminations in the movie. We see Murphy rejected by the other services for being too young or too short. In the Third Infantry Division he is ridiculed in a good-natured way by the usual stereotypes from other war movies -- the guy who brags about his sexual exploits, the stoic Indian, the ambitious Pole, the reckless good friend. The musical score suits the film: a high school marching band plays "On Wisconsin" or something.

Murphy's achievements provide a peg to hang a formulaic war movie on. No cliché is avoided. On leave at last with his fellow troopers in Rome, they all head off to get drunk and get laid, leaving the bashful hero behind. The shy Murphy winds up spending the night with an accommodating young woman while the others are either satisfied with finding someone to talk to or find themselves in some other sort of dead end. The next morning all the men brag about their conquests while the reticent Murphy says nothing about his night of romance.

The battle scenes are pretty good, though again they fit the Hollywood mold. The writers even are forced -- get this -- they are forced to downplay or skip over Murphy's boldest actions -- because they are UNBELIEVABLE. The guy's military achievements are so extravagant that the writers must have figured no one would believe them, although to be sure, what's left in is heroic enough.

It isn't a bad movie, or rather it wouldn't be if it were fictional from beginning to end. It would just be a standard genre effort from the 1950s, inferior to, say, "Battleground" or "The Story of G. I. Joe." But it pretends to be a true story and it is simply not.

What a tragic waste -- of the rest of what life remained to Murphy, and of an historically accurate narrative that was never told.

During the first World War the American hero out of that conflict, Alvin C. York of Tennessee, had to wait until the outbreak of the second World War for his biographical film to be made. World War II's equivalent from East Texas only waited ten years and had the singular honor of starring in the film of his own life.

Good thing Audie Murphy became a Hollywood star because he got to both write his own story and have Universal Studios produce the film as to his specifications. To Hell and Back is his story, but it's also the story of the men who served with him, those who came back from hell and those who remained.

What I liked best about To Hell and Back was the camaraderie and spirit and the relationships between Murphy and the men of his outfit. The story starts in North Africa where his company arrives too late for the fighting there, but just in time to be part of the offensive to take Sicily. Then it's Salerno, up the western Italian coast and into France with the landings in Southern France until Germany. At each stop Murphy grows in admiration and respect from those over and around him. Such players as Jack Kelly, Paul Picerni, Marshall Thompson and Charles Drake support Murphy very well.

To Hell and Back also shows what a roll of the dice combat is. It could just as easily been Murphy as any of the cast that is killed and doesn't make it to the end of the film. Staying alive is a singular accomplishment. All of these guys are heroes. A lot of the fame and glory Murphy won was due to luck and opportunity and he would have been the first to admit it.

When do you get a film with 100% perfect casting for the lead? you get it in To Hell and Back with Audie Murphy playing the man his comrades called Little Texas. A nice film about the greatest soldier of the greatest generation.

TO HELL AND BACK is a WW2 movie of the 1950s with a unique hook: it tells the true story of the army career of western actor Audie Murphy, with Murphy playing himself, no less. I can't think of another film quite like it, and if the execution is purely standard, then that doesn't matter too much. This all-colour production is handsomely mounted and features a big supporting cast studded with familiar faces including Marshall Thompson and David Janssen. There's a little of the old propaganda about it, but the battle sequences are well staged and the best thing is just how much ground this covers, never slowing down for an instant.