The Young Lions 1958

The Young Lions follows three men whose paths intersect and diverge across the chaos of World War II. Marlon Brando plays German ski instructor Christian Diestl, who starts with a hopeful faith in Germany’s future under Hitler but becomes increasingly unsettled as the war reveals itself in the brutality of combat and the moral costs of duty. Across the sea, Dean Martin embodies Michael Whiteacre, a charismatic showman whose life in civilian entertainment clashes with the summons of the draft and the responsibilities of an army that may be far from glamorous. In parallel, Montgomery Clift portrays Noah Ackerman, a small-town clerk who endures bullying in boot camp but earns the respect of his peers through quiet resilience and courage in battle.

On the home front, Michael’s social world adds a romantic undercurrent. He is involved with Margaret Freemantle, played by Barbara Rush, a society figure who once dated Christian during a ski trip in the Bavarian Alps in 1938. Their complicated past and enduring connection to the era’s tensions loom over Michael’s present, and Margaret’s influence helps push Michael toward actions that will define his war years. Meanwhile, Noah’s life blooms with another connection when he meets Hope Plowman, portrayed by Hope Lange, at a party Michael hosts. Hope invites Noah to Vermont to meet her father, and the story delicately explores the pull between personal history, faith, and family acceptance as he reveals that he is Jewish—an revelation that initially unsettles Hope’s father but is ultimately met with surprising openness.

As the two men enlist, their training becomes a crucible that tests loyalty, pride, and courage. Noah faces taunting and harassment in boot camp, yet he refuses to back down, earning a hard-won respect from his fellow soldiers. Their commanding officers, including Arthur Franz as Lt. Green, set the tone for a harsh, often unforgiving environment. Noah’s perseverance culminates in a moment that catches the attention of military authorities, who deal with the abuses he endures and affirm the value of his bravery. Michael, by contrast, starts the war in a more protected position thanks to his fame, spending much of the conflict in a London posting where combat feels distant from his daily life. He is moved to action only after Margaret—ever the force of influence—shames him into volunteering for front-line duty again, a turning point that sends him back into the thick of the fighting with his old unit as the war’s final chapters unfold in Germany.

Christian’s arc runs in stark counterpoint to his American counterparts. He is torn between loathing what the Reich has become and a sense of obligation to serve his countrymen. His experience deepens when he visits a hospital to see his wounded captain, and he is deceived into bringing the captain a bayonet; the captain later dies by suicide, an act that shakes Christian’s resolve and reveals the inner cost of a soldier’s duty. The film’s most intense moral reckoning lies in the war’s final phase, when Christian’s own path collides with the consequences of a regime he finds increasingly unconscionable. Maximilian Schell appears as Capt. Hardenberg, offering a stark portrait of European military command, while Dora Doll contributes to the intimate ensemble through the character Simone, whose presence adds texture to life beyond the frontline.

The front lines bring Noah and Michael face to face with the consequences of war as liberation nears. Noah risks his life by swimming across a canal to rescue a fellow soldier—the person who had once harassed him in boot camp. The moment starkly contrasts with Christian’s awakening as he encounters the horrific realities of the Third Reich at a concentration camp. There, he overhears the mass extermination talk from the camp’s commander and is confronted with the true scale of the regime’s brutality. The camp’s liberation comes as American forces close in, among them Michael and Noah, while the local mayor proposes “cleaning up” the camp before reporters arrive. His efforts are rebuffed by Captain Green, who stands as a reminder of the conflict between bureaucratic power and the moral urgency of the moment, and a Rabbi’s plea for a religious service underscores the human cost of the war.

In the climactic aftermath, the personal and collective histories collide. Michael cautiously returns to a role that feels earned rather than glamorous, and Noah—worn yet steadfast—watches as the war ends and life begins anew. The two men’ s paths reconverge in the wake of victory, culminating in a quiet, poignant moment of kinship and relief. The final image returns to Hope’s window in their apartment, where she lifts their baby daughter to greet Noah, who climbs the stairs toward his family with a renewed sense of belonging and hope.

The film weaves a stark, unflinching portrait of wartime moral complexity, tracing how three men from different backgrounds confront power, fidelity, and humanity under pressure. It juxtaposes the glamorous pull of personal aspiration with the brutal demands of history, showing that courage comes in many forms—whether it’s Noah’s steadfast endurance in the face of abuse, Michael’s decision to step back into danger for a sense of duty, or Christian’s painful awakening to the atrocities fueled by his own countrymen. Through intimate character moments, tense frontline sequences, and a devastating meditation on the costs of war, the story remains a somber reflection on the price of loyalty, the cost of prejudice, and the redemptive possibility that can emerge from acts of courage in the darkest hours.