Don’t Go Near the Water

In the heat of the South Pacific during World War II, a small U.S. Navy public‑relations detachment operates on an island that feels removed from the front lines. The setting is a blend of military bureaucracy and tropical leisure, where the daily grind is less about combat and more about shaping the story the home front will hear. The film’s tone balances light‑hearted banter with the underlying seriousness of wartime service, offering a vivid picture of men and women tasked with polishing appearances while the distant sounds of battle echo in the background.

At the heart of the unit is Max Siegel, a lieutenant‑junior grade freshly trained on Madison Avenue and now shuttling reporters, congressmen, and dignitaries around the island. He reports to Lt. Cmdr. Clinton T. Nash, a former stockbroker turned officer whose rigid control over transfers and assignments keeps the team firmly in his grip. The clash between Siegel’s polished, media‑savvy instincts and Nash’s uncompromising military discipline creates a subtle, often humorous tension that drives much of the film’s interpersonal drama.

Around them, a cast of colorful personalities hints at deeper narratives. Melora Alba, a dedicated local schoolteacher, catches Siegel’s eye, while the inexperienced Adam Garrett navigates his own forbidden affection for Navy nurse Alice Tomlen. Meanwhile, the boisterous sailor Farragut Jones is thrust into the spotlight as part of a morale‑boosting scheme, and the glamorous war correspondent Deborah Aldrich circles the periphery, drawing the attention of Admiral Junius Boatwright. These relationships and ambitions swirl amid the island’s bright scenery, suggesting that love, ambition, and duty will constantly test the characters’ loyalties long before the war’s final chords sound.

Last Updated: December 05, 2025 at 09:23