JohnHowardReid Copyright 23 June 1965 by P-R Productions. Released through 20th Century-Fox Film Corp. New York opening simultaneously at Loew's State and the Tower East: 23 June 1965. U.S. release: 23 June 1965. U.K. release: 16 August 1965. Sydney opening at the Regent. 117 minutes. Cut to 110 minutes in the U.K.NOTES: Nominated for an Academy Award for Sound Effects, losing to the only other nominee, "The Great Race". Number 9 at the U.S. box- office for 1965. Number 7 at U.K. ticket- windows. The movie did equal business in Australia. Locations for the $6,000,000 epic follows the route of the escaping POW's, from the Adriatic coast of central Italy, through Rome, Pisa, Florence, Bologna, Milan and the Italian Alps which lead to Switzerland. Many key scenes were enacted in railroad stations, and these were filmed by conventional methods. Aboard the speeding train, Robson had to utilize techniques which introduced the element of danger to his task. A camera jeep was fitted out with special wheels to enable it to ride on the tracks at speeds up to 90 miles per hour. Robson and his camera crew were perched in a rostrum atop the jeep as they chased after Von Ryan's Express.COMMENT: My one and only complaint is that the ending is a bit abrupt — none of the usual obligatory shots of the train winding on. Right then and there, I — and the rest of the audience — wanted to see it all over again. For a powerful and compelling use of CinemaScope, it's hard to go past Von Ryan's Express. Typical Hollywood — just as a medium is mastered and finally licked into artistic and entertaining shape, it's jettisoned for some new fad... CinemaScope was never more involving than in this movie which seems to have been specifically designed from the outset with all the capabilities of the wider screen firmly in mind.A war picture with a difference. True, there's plenty of gun-'em- down action, but there's also suspenseful drama to pin it all on, including an arresting character conflict — grippingly acted — between Sinatra's 90-day American colonel and Howard's seeded professional British major. The support players are not wanting in charisma either, particularly strong performances coming from Edward Mulhare as the padre, Fantoni, Celi, Carra, Preiss and even Ivan Triesault (speaking German like a native).Von Ryan's Express is a must for all train buffs of course, with the last half of the film excitingly staged on actual Italian locations. Robson heads up unusually fine technical credits. His direction here has an unobtrusive efficiency and confidence often lacking in his more morally ambitious projects.

ma-cortes Awesome warlike movie with memorable images and outstanding acting by well-known faces . This is a splendid film about a daring breakout from an Italian concentration camp with all star cast and magnificently realized by Mark Robson . The opening prologue states: "Italy , August 1943. With the Allies poised to strike, the Germans seized control of Italy. So the war-weary Italian nation fought on, a prisoner of the German armies¨ . There appears Ryan, an American POW Colonel (Frank Sinatra , his leather jacket was later worn by Bob Crane in Hogan's Heroes and was later worn by Greg Kinnear in Auto Focus) and a British military (Trevor Howard who was second choice for Major Fincham after Peter Finch turned it down and Jack Hawkins was possible for this part) is the officer in charge until Ryan takes over the escape plan . Ryan leads his fellow prisoners as foreign soldiers (James Brolin , John Leyton , Edward Mulhare) as Italian local military (Sergio Fantoni , Adolfo Celi and Vito Scotti as Train Engineer) on a perilous getaway from the Germans (led by Wolfgang Preiss as Major Von Klemment) in Italy . Having seemingly made errors of judgement, Ryan has to get the support of the mainly British soldiers he is commanding . As they aboard a German train to neutral Switzerland .This great action tale contains thrills, intrigue, tension, excitement galore, entertainment and lots of fun . Suspenseful WWII epic packs exceptional plethora of prestigious actors incarnating the motley group of POWs , giving good acting and support , as a sensational Frank Sinatra whose character , Colonel Ryan, remains today as attractive iconography ; Edward Mulhare as an army priest posing as a Nazi officer , Brad Dexter as roguish Sgt. Bostick ,Sergio Fantoni as Capt. Oriani , a very young Raffaela Carra and Michael Goodliffe, who was an actual Prisoner of War during WWII , being captured at Dunkirk and spent the next five years in a German POW camp . Excellent production design and art direction with evocative scenarios by Walter Scott . Rousing and lively soundtrack , nowadays a classic score, by Jerry Goldsmith . Colorful cinematography by William H Daniels , Greta Garbo's usual cameraman .The motion picture lavishly produced by Saul David was well realized by Mark Robson. In the early 40s Robson was much involved with the low-budget terror unit in charge of producer Val Lewton , for whom made ¨Seventh victim¨, ¨The ghost ship¨, and ¨Island of the dead¨. In the late 1940s Robson joined Stanley Kramer's independent company and directed his biggest commercial hit to date with ¨The champion¨. Years later Robson made another good film about corruption in boxing world titled ¨The harder they fall¨ with Humphrey Bogart. In the late 1960s, his work did decline . His last movie was a jinx one titled ¨Avalancha express¨. Robson and his main star, Robert Shaw, died suddenly from heart attacks. And of course , ¨Von Ryan Express¨ was one of his best films . A top-notch cast , spectacular images , tense images and noisy action help make this one a superior effort of its kind . Well worth seeing , this is the ordinary War movie that Hollywood does so well . This one is certainly one of the best movies ever made about the WWII escapes . Rating : 7 . Two thumbs up , essential and indispensable watching for WWII lovers , a real must see.

secondtake Von Ryan's Express (1965)Not exactly a Frank Sinatra vehicle, but he is the leading figure in a movie that has lots of ulterior motives. And it pulls off an action film about World War II with pizazz. When the war ended there was a lot of consternation about the difference in the roles of the two European antagonists--the Germans and the Italians. That's maybe the biggest ongoing theme of this movie, and clearly the Italians are being shown as victims and eventually as heroes to the Americans once the troops start to arrive and the Nazi occupation is pushed out. This is set and filmed in Italy, and the locations are terrific. And so is the filming, nicely dramatic widescreen stuff.Sinatra represents, in almost all his film roles, a kind of regular guy who isn't overly engaged but who is gentle and relaxed and ready to do the right thing. He's a real American archetype just as much as Bogart was, and his characters (including this one) mix a compelling personal demeanor with a moral fiber that makes him admirable. He doesn't seduce the woman who really is ready to let him. He doesn't put criticize his British counterpart in the prison until he has to. He stands up to the enemy but doesn't every sound arrogant or nasty. He's the ultimate good guy and is presented this way for the ongoing reason often seen in post-war American films, establishing a national character in film characters that matches the best of what was really in the air and on the ground in the U.S. at the time.It's all pretty wonderful to watch. You admire him and wish there were more people like him around.The plot is exciting as heck. What starts as a kind of prison break movie shifts to another kind of escape and survive movie, with a train running right through enemy territory. Filled with daring, with this one American amidst mostly British soldiers, the enemy is dispatched, tricked, and evaded several times. When the good guys fail, it's only temporarily. And ultimately the good guys, beyond Sinatra's American type, are the Italians, who are shown to hate the Germans and are glad for the invasion by the British and Americans.

Thunder287 I was wondering about the microwave towers in the background when the train stops to feed the prisoners. Would those have been there in 1943? I sure there were some ego issues with the main actors. I have always wondered why set directors never show the shadows passing in scenes within cars and trains. To me it's a flaw.I don't have 10 lines so I'll repeat it.I was wondering about the microwave towers in the background when the train stops to feed the prisoners. Would those have been there in 1943? I sure there were some ego issues with the main actors. I have always wondered why set directors never show the shadows passing in scenes within cars and trains. To me it's a flaw.