boblipton
I think it was Michael Palin who wanted to make a movie in which he ran over someone with a steamroller and Charles Crichton who wanted to make a movie in which the principals got away to South America home free. It doesn't apply to this movie, which is an Ealing movie, but not a comedy, yet shows the care and excellence that Michael Balcon applied to the movies he produced.It starts out at a spy training center in England, run by a seemingly amiable John Robertson Justice. The four top "students" with which this movie concerns itself are Robert Beatty, Simone Signoret, Jack Warner and Gordon Jackson. Beatty, a priest, is sent out earlier. When a rescue is needed, the others follow. However, things go wrong and matters become messy.All of the actors go about things as stoically as they can, but their characters' emotions keep leaking through. The movie keeps throwing up tense moments, some of which are solved heroically, some tragically and some comically. It's a first class movie in all departments, even if the subject has grown commonplace in the aftermath of the Cold War.
Chase_Witherspoon
Surprisingly tense account of allied forces operating behind enemy lines in WWII France, infiltrating enemy strongholds and generally destabilising the occupation in collaboration with resistance fighters. Canadian Robert Beatty and Scot Gordon Jackson are the principals protagonists, teaming up with Simone Signoret in an elaborate game of cross and double cross, evading the Germans while they attempt to rescue one of their own.Great cast with Jack Warner as the convivial commando (belying his autumn age), while Jackson and Beatty are the more intense agents, the former engaging in a rather unlikely romance with Signoret's character, herself a highly capable spy and willing to pull the trigger as required. Burly JRJ is the puppet master overseeing the covert operations, while Paul Dupuis has a memorable role as a turncoat doing everything he can to aid and abet the allied rearguard.There's two or three very memorable moments in this film, and a relative surfeit of violence for its late-forties vintage - the Signoret-Warner scene is quite brutal and unexpected. Good use of sets and exteriors, and while there's a few clichés, I found it quite an addictive film that holds the attention pretty well.
MARIO GAUCI
This unusual but typically low-key product from Ealing Studios (best-known for a series of classic comedies made between 1946-1955) is a semi-documentary depiction of the saboteur training undergone by a band of hand-picked civilians and their subsequent missions behind enemy lines; therefore, in both theme and quality, it anticipates the later, more acclaimed Hollywood offering DECISION BEFORE DAWN (1951) which, incidentally, I just caught up with a couple of weeks ago. The cast is mostly made up of the usual familiar British faces (James Robertson Justice, Gordon Jackson, Jack Warner, Robert Beatty, etc.) but 2 major roles are, very effectively, portrayed respectively by French and Canadian actors: Simone Signoret (appearing in her first English-speaking film when on the verge of attaining stardom on her home ground) and Paul Dupuis. Being in this company, there cannot fail to be lighter moments especially during an early sequence where our heroes are being shown the tools of their trade i.e. booby-trapped dead rats, manure and even sausages! among the continuous perils and occasional tragedies they have to face away from home (including being forced to cold-bloodedly execute a compromised companion and swallow the omnipresent suicide pill to escape torture at the enemy's hands).
david.clarke
Despite the usual budgetary restrictions, this manages to convey a sense of the danger and great sacrifice made by these brave people who fought for our freedom. Charles Crichton brings out the human story rather than the all-action tale of some movies. Scenes with John Slater visiting his wife seems slightly corny now, but then must have seemed so close to events (just 3 years after the end of WW2). And the outcome later makes it all the more poignant. I thought a movie like this would be good to show in schools, as a part of history lesson. I love all those character actors they were part of my childhood, and they were such real actors and people. (Take note Arnold, et al) And I still haven't got over Jack Warner's Max (our own Dixon of Dock green) who would have adam 'n' eved it!
AD
