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I love this movie so much

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

SPOILER: In December 1944 in snowy Belgium, Lt. Thomas Hart (Colin Farrell), a military attaché, is captured by Germans via a ruse: Those desperate German soldiers of a dying Reich who speak like Americans and dress in American uniforms. He is sent to POW prison, Stalag VI A in Augsburg, Germany. There he meets German commandant, Col. Werner Visser (Marcel Iures, in a marvelous performance). Almost immediately, he is greeted by Col. McNamara (Bruce Willis), the highest ranking prisoner of war in the camp. After sniffing out Hart (Hart's reaction to a most grueling interrogation by Deutsch Officer Lutz), he assigns Hart to an enlisted men's barracks, Building 27, instead of the one for officers. Apparently the Germans did allow the highest ranking POW a degree of power in the encampments. Hart blends in fairly well as he learns the ins and outs of survival, like the value of cigarettes. Before long two African-American Air Force officers, recently captured by the Germans, are placed by McNamara in the enlisted men's quarters. Staff Sergeant Vic Bedford (Cole Hauser) makes no pretense of his displeasure. Not only is Bedford bigoted, but he also knows how to obtain favors from the German guards. When Bedford is found murdered, suspicion is focused on one of the Negroes, Lincoln Scott (Terrance Howard). The other had already been shot for attempted escape after being set up (by Bedford). With approval of Col. McNamara, Scott is placed on trial by the Americans. The aim of the trial can be seen as a way for Americans to maintain their dignity under trying circumstances. McNamara assigns Hart as Scott's defense council, even though the former has only attained progress as a second-year Yale Law School aspirant. Col. Visser agrees and supports the trial, which consumes much of the second half of the feature. It soon becomes obvious that McNamara is at odds with Hart, and has motives that transcend justice. The privileged Hart has much to learn.On the other hand, Visser is sympathetic to the lieutenant, with whom he discloses his graduation from Yale back in 1928. He even gives the conflicted Hart a copy of the American Manual for Courts- Martial to assist him. He knows that McNamara "threw him to the wolves." Privately he tells Hart that he enjoys American culture, like reading Mark Twain; he also plays his Negro jazz records, a collection that very much relaxes him even though it is "verboten" in the Reich. Visser is obviously not a typical nasty Nazi stereotype. Towards the end we realize that there is a shifting of events: the trial really has nothing to do with Lincoln Scott. Much about the camp was a lie; Bedford was a known snake. There is something larger afloat, an act of greater military importance that is portended earlier. As this is a World War II movie, perhaps this fact should have been expected. But it is distracting to the viewer, and will not work for many. Some may even feel that the story-line is no better than mediocre. The feature is produced by David Ladd, Alan Ladd's son. The cinematography, with its wintry bluish tone and stark, snowy scenes, works very well. The claustrophobia in each of the unheated barracks can be felt outside of the screen. In this writer's opinion, you can do worse than watch.

"Hart's War" is a WW II Prisoner of War film based on a novel by John Katzenbach. The film apparently differs quite a bit from the book. It isn't the equal of "Stalag 17" of 1953 or "The Great Escape" of 1963. But it comes close, and it introduces a couple of new aspects rarely covered in POW films. Those are interrogation before prisoner assignment to a POW camp, and racism among the American prisoners. The cliché – all is not what it seems, surely applies to this film. Hart's War is a gripping war movie about the Allied prisoners in a Nazi POW camp. I think it does rival "Stalag 17" for intensity and intrigue. The situations are somewhat different, especially with the racism aspect. It's a solid, dramatic story that includes several issues -- patriotism, freedom, brotherhood, race, betrayal, sacrifice, murder and military leadership. And that's just among the prisoners. The Germans who run the camp don't stand out beyond the commandant. This is a great story that to the very end may have you in doubt, as it did me. Had I known the outcome before watching this movie, I wouldn't have enjoyed it nearly as much. So, I recommend that those who haven't seen it yet not read reviews that give the plot away. The best appreciation of this film comes from seeing it through the eyes of Colin Farrell's character. As the movie unfolds, we see and associate with his feelings, his dismay, his confusion, his anger and his disbelief. "Harts War" is a powerful statement about honor, courage, integrity and leadership. No one can ever forget the ending. The cast excel throughout the film. Bruce Willis is the ranking Allied POW – Col. William McNamara. Farrell is the newly arrived POW, Lt. Thomas Hart. Romanian actor Marcel Iures is camp commandant, Col. Werner Visser. Terrence Howard is Lt. Lincoln Scott. Each stands out in his role, and the rest of the cast are superb. This movie makes an excellent 21st century addition for any serious World War II film library.

In 1944 Belgium, during World War II, handsome American lieutenant Colin Farrell (as Thomas "Tom" Hart) is captured by the Nazis and sent to a German Prisoner of War (POW) camp. He is a US Senator's son and Yale law student; this was not supposed to happen. After some hairy distractions, Mr. Farrell ends up in Stalag 6A. He meets the prisoners' hard-nosed leader Bruce Willis (as William A. McNamara), who puts Lt. Farrell in a less than worthy barracks; it's one for enlisted men, not officers. The demotion is likely because Col. Willis knows Farrell lied to him about not cracking under German interrogation. Next, two additional men arrive at Stalag 6A. These men cause racial tension among the POWs...The conflict centers on Terrence Howard (as Lincoln A. Scott) and Cole Hauser (as "Vic" W. Bedford). A Tuskegee pilot, the former becomes an accused black man; the latter is his white racist enemy. These men perform their supporting roles very well. However, the most memorable characterization is given by Marcel Iures (as Werner Visser). As the Nazi leader, Mr. Iures has the meatiest role. He was educated in the west (Yale, again), served in World War I and plays American jazz phonograph records. That background connects everyone...The main star, Farrell employs his Yale studies to defend Mr. Howard. The main co-star, Willis looks steely and determined. Director Gregory Hoblit and cinematographer Alar Kivilo make "Hart's War" a fine looking film, especially during the first half. But we should not guess the big revelation before Farrell, who seems like a fairly smart guy, and the ending is most unsatisfactory.****** Hart's War (2/15/02) Gregory Hoblit ~ Colin Farrell, Bruce Willis, Marcel Iures, Terrence Howard

This is a WWII film that has two things on its mind. The plight of POW's and the inherent racism that existed at the time, even in the military, even when the Black soldiers achieved to the point of becoming aviators and Officers. It seems they could not do anything to prove that they were of equal status.The battle scenes in this partly successful socio-drama are terrific and realistic, but the conditions in the camp and and the interplay between the Nazi's and the POW's are not. Placing the racial elements in the middle of this movie seems awkward and never does ultimately mean anything and ends up being a fruitless effort of a diversion. This off hand setup does not help either the entertainment value of the movie or the commentary on segregation, in fact, it demeans any attempt to maintain its progressive message. In the end it is a film that you are rooting for to be better than it is. A salute from the audience that is returned half-heartedly.