Night Train to Munich (1940)
This British movie was made in 1940 a year after German and Britain began WWII. It is set in the late summer of 1939, just as the declaration of war was on the horizon. And while the filming and post-production is going on, London is being bombed by the Nazi air force. (The film was released in December, several months after the first raids.)
The most memorable lead is Rex Harrison playing an agent and double agent, falling in love with and saving the scientist's daughter (Margaret Lockwood) as well as the scientist himself (while he's at it). And then as a competing suitor, the dubiously aligned German officer played by Paul Henreid, who a year later would play a kind of counterpoint in the American Nazi film, "Casablanca."
Director Carol Reed marshals all these forces and makes a surprisingly terrific movie. It's fast, smart, fanciful, and patriotic. It's also really really funny, and the more you catch the British humor the more you'll be glad--at times it's relentless even as its subtle. The little barbs against the Germans, both as German stereotypes and as Nazi buffoons, is highly calculated. The British come off as daring and dashing, even the bumbling travelers rise to the occasion. It's often been commented that Harrison makes a very fit precursor to James Bond, and there must be a backwards truth to that because Ian Fleming (who invented Bond) was a WWII British OSS worker. Art imitating life. Imitating art.
And yes, this is an homage and reference (if not sequel) to Hitchcock's "The Lady Vanishes," including use of the same writers, the same kind of comic suspense, the same leading actress, and even two comic side characters from one train to the other. Reed even acknowledged the connections, as if he could deny them, and wanted no doubt to coattail some of the movies huge success.
It taints a movie to call it propaganda, so I won't. It's not, really. What it does (just as "Casablanca" does) is strike one up for the good guys. You end the movie thinking the British might just win this thing. And at the time that wasn't a foregone conclusion--London was only sinking further into the terror of the Blitz. Of course, we know that British resolve and resourcefulness won the day, with a little outside help, and this is part of exactly that.
Great stuff.
This British movie was made in 1940 a year after German and Britain began WWII. It is set in the late summer of 1939, just as the declaration of war was on the horizon. And while the filming and post-production is going on, London is being bombed by the Nazi air force. (The film was released in December, several months after the first raids.)
The most memorable lead is Rex Harrison playing an agent and double agent, falling in love with and saving the scientist's daughter (Margaret Lockwood) as well as the scientist himself (while he's at it). And then as a competing suitor, the dubiously aligned German officer played by Paul Henreid, who a year later would play a kind of counterpoint in the American Nazi film, "Casablanca."
Director Carol Reed marshals all these forces and makes a surprisingly terrific movie. It's fast, smart, fanciful, and patriotic. It's also really really funny, and the more you catch the British humor the more you'll be glad--at times it's relentless even as its subtle. The little barbs against the Germans, both as German stereotypes and as Nazi buffoons, is highly calculated. The British come off as daring and dashing, even the bumbling travelers rise to the occasion. It's often been commented that Harrison makes a very fit precursor to James Bond, and there must be a backwards truth to that because Ian Fleming (who invented Bond) was a WWII British OSS worker. Art imitating life. Imitating art.
And yes, this is an homage and reference (if not sequel) to Hitchcock's "The Lady Vanishes," including use of the same writers, the same kind of comic suspense, the same leading actress, and even two comic side characters from one train to the other. Reed even acknowledged the connections, as if he could deny them, and wanted no doubt to coattail some of the movies huge success.
It taints a movie to call it propaganda, so I won't. It's not, really. What it does (just as "Casablanca" does) is strike one up for the good guys. You end the movie thinking the British might just win this thing. And at the time that wasn't a foregone conclusion--London was only sinking further into the terror of the Blitz. Of course, we know that British resolve and resourcefulness won the day, with a little outside help, and this is part of exactly that.
Great stuff.