Although similar but not as good as Stalag 17, this is one of the best British POW movies. The script is fast paced, the cast is excellent, the acting is top draw , without hamming it up. And like Stalag 17 there is a traitor in the camp. The film blends drama with a good whodunit, and throw in the Camp's production of Hamlet as a ploy to enable a mass escape is an absolute joy. Dennis Price, Bernard Lee,Richard Todd, Peter Arne and a who's who of British actor's make this such an enjoyable film. Richard Attenborough's performance as always is superb. I rate this film and recommend it to anyone who enjoys War-Drama movies. Danger Within is being shown on Channel Four on Tuesday afternoon 12th of July, please watch it, if i had a VCR i would record it!. This film deserves a quality DVD release in it's original aspect ratio, so whoever own's the rights please do something about it.
17 Reviews
Four Hundred men and a Duck!
hitchcockthelegend11 March 2014
Danger Within is directed by Don Chaffey and adapted to screenplay by Bryan Forbes and Frank Harvey from the novel "Death in Captivity" written by Michael Gilbert. It stars Richard Todd, Bernard Lee, Michael Wilding, Richard Attenborough and Dennis Price. Music is by Francis Chagrin and cinematography by Arthur Grant.
Northern Italy, 1943, a POW Camp. No matter how intricate the planning, how well executed, escape attempts are met by tragedy as the sadistic camp commander is waiting to not only foil the escape, but to also kill the escapees in cold blood. It can mean only one thing, there's an informer in the camp.
Packed with British thespian talent giving good turns, Danger Within serves as both a POW escape drama and a war time mystery thriller. The mystery element is a little undone since the informer is revealed to us the audience at the midpoint, but from there on in the suspense is amped up by way of wondering if the rat will be found, and if the amazing grand escape planned at film's end will succeed. With that, the second half of pic also serves as an escape procedural. Lots going on here, with plenty of slices of British humour into the bargain as well, while some of the dialogue is tough and the odd line is very much of its time; but in a good period setting way (for example; how wonderful to hear the word clot used as an insult again!). 8/10
Northern Italy, 1943, a POW Camp. No matter how intricate the planning, how well executed, escape attempts are met by tragedy as the sadistic camp commander is waiting to not only foil the escape, but to also kill the escapees in cold blood. It can mean only one thing, there's an informer in the camp.
Packed with British thespian talent giving good turns, Danger Within serves as both a POW escape drama and a war time mystery thriller. The mystery element is a little undone since the informer is revealed to us the audience at the midpoint, but from there on in the suspense is amped up by way of wondering if the rat will be found, and if the amazing grand escape planned at film's end will succeed. With that, the second half of pic also serves as an escape procedural. Lots going on here, with plenty of slices of British humour into the bargain as well, while some of the dialogue is tough and the odd line is very much of its time; but in a good period setting way (for example; how wonderful to hear the word clot used as an insult again!). 8/10
Superior British war film.
the red duchess26 February 2001
A rare bright spot in a benighted genre, this British POW drama avoids familiarity not only by avoiding stiff upper lip and grey morality in favour of wit, tension and Hollywood stereotype, but also by a clever use of the metaphors of theatre. Most British war films parade their stifling docudrama-style 'realism'; this is often an excuse for imaginative paucity. 'Danger Within' uses the idea of play to question some of the received myths about the British Second World War.
Part of the novelty lies in its North Italian setting - we're so used to nefarious Nazis and brutal Japanese. Not that it makes much difference - the main villain, Capitano Benucci, is a Nazi-trained sadist, who imagines he's suavity incarnate with his sophisticated cigars, laidback walk, time goatie, and clipped, ironical speech. But the blanching sun makes a nice change, giving a parched, sandy feel, and the notorious stereotype of Italian incompetence makes the various plot points believable.
What makes this narrative absorbing is not the usual will-they-or-won't-they escape plot, but a kind of detective story. No matter how ingenious the efforts of the escape committee - and there is a brilliant one here involving sewers, light-switches, misplaced cigarettes and rugby posts- there is always the same welcoming committee of armed fascists ready to mow them down. It's clear there's an informer, but who?
The obvious culprit is a shifty-looking Greek. This is the film's first daring piece of iconoclasm. There is a lot of anti-Italian racism throughout, but that can be attributed to understandable wartime emotionalism, where contempt for what Fascism stands for is expressed in xenophobia. But the Greek's only obvious credentials for being an informer is the fact of being a Greek, a little small, sweaty, oily, you know, naturally sneaky. When his name is called at roll-call, a wit hurls a dead rat at the officer; we remember Nazi anti-Semitic propaganda that used similar analogies.
This is a strangely unideological war these men are fighting - there is no rhetoric about liberty and democracy; this is a prison film in which the criminals, all professionals, want to escape. Everything centres on the job in hand, with loyalty vouchsafed for anyone who agrees. This lack of sentimentality is refreshing an a genre stuffed with secular piety.
Even better is the working of the theatrical metaphors. The brilliant opening scene features a prisoner disguised as the commandant - their fatal meeting creates a mirror effect that echoes in the following narrative about, not only duplicity, but also people who don't seem to be what they are, including old fops who turn out to be very brave men. Of course, this is a situation where the Law are murderous criminals, and the prisoners are democratic saviours, ambiguous enough in itself. It creates a world where you don't know who to trust, especially dangerous in a situation where loyalty and trust need to be givens. This idea of acting and pretending (extending to the Capitano) culminates in the attempted escape during 'Hamlet', with the immortal Dennis Price in a mop wig as the Prince. It's a shame they couldn't have picked a more apposite play - King Lear, perhaps? - or worked it in better, with a play-within-a-play scene, for instance, to reveal the murderer. But that would have been silly, contrived, arty, and no British war film would ever be that. Michael Wilding is a bizarre sight in this testosterone heavy atmosphere; even more surprising is how excellent he is with his old queen patter and reserves of steel.
Part of the novelty lies in its North Italian setting - we're so used to nefarious Nazis and brutal Japanese. Not that it makes much difference - the main villain, Capitano Benucci, is a Nazi-trained sadist, who imagines he's suavity incarnate with his sophisticated cigars, laidback walk, time goatie, and clipped, ironical speech. But the blanching sun makes a nice change, giving a parched, sandy feel, and the notorious stereotype of Italian incompetence makes the various plot points believable.
What makes this narrative absorbing is not the usual will-they-or-won't-they escape plot, but a kind of detective story. No matter how ingenious the efforts of the escape committee - and there is a brilliant one here involving sewers, light-switches, misplaced cigarettes and rugby posts- there is always the same welcoming committee of armed fascists ready to mow them down. It's clear there's an informer, but who?
The obvious culprit is a shifty-looking Greek. This is the film's first daring piece of iconoclasm. There is a lot of anti-Italian racism throughout, but that can be attributed to understandable wartime emotionalism, where contempt for what Fascism stands for is expressed in xenophobia. But the Greek's only obvious credentials for being an informer is the fact of being a Greek, a little small, sweaty, oily, you know, naturally sneaky. When his name is called at roll-call, a wit hurls a dead rat at the officer; we remember Nazi anti-Semitic propaganda that used similar analogies.
This is a strangely unideological war these men are fighting - there is no rhetoric about liberty and democracy; this is a prison film in which the criminals, all professionals, want to escape. Everything centres on the job in hand, with loyalty vouchsafed for anyone who agrees. This lack of sentimentality is refreshing an a genre stuffed with secular piety.
Even better is the working of the theatrical metaphors. The brilliant opening scene features a prisoner disguised as the commandant - their fatal meeting creates a mirror effect that echoes in the following narrative about, not only duplicity, but also people who don't seem to be what they are, including old fops who turn out to be very brave men. Of course, this is a situation where the Law are murderous criminals, and the prisoners are democratic saviours, ambiguous enough in itself. It creates a world where you don't know who to trust, especially dangerous in a situation where loyalty and trust need to be givens. This idea of acting and pretending (extending to the Capitano) culminates in the attempted escape during 'Hamlet', with the immortal Dennis Price in a mop wig as the Prince. It's a shame they couldn't have picked a more apposite play - King Lear, perhaps? - or worked it in better, with a play-within-a-play scene, for instance, to reveal the murderer. But that would have been silly, contrived, arty, and no British war film would ever be that. Michael Wilding is a bizarre sight in this testosterone heavy atmosphere; even more surprising is how excellent he is with his old queen patter and reserves of steel.
A Hidden Classic
diva1015521 July 2001
It never ceases to amaze me the truly wonderful films that you find if you venture from the mainstream. This is one of the greatest finds I have come across in a while.
A classic cast of Richard Todd, Richard Attenborough, Bernard Lee, Vincent Ball and Dennis Price are holed up in a Prisoner of War camp in Italy. They struggle against a sadistic camp Capitano (Peter Arne), the impending threat of a German takeover of the camp, internal personal clashes and a traitor in their midst as they try to escape. It sounds like heavy going but with a tight, often witty script and magnificent performances this is simply rivetting viewing. Richard Todd and Richard Attenborough (both underrated actors) especially shine out for their performances.
And there is the bonus of seeing a frighteningly young and skinny Michael Caine in a bit part!
A classic cast of Richard Todd, Richard Attenborough, Bernard Lee, Vincent Ball and Dennis Price are holed up in a Prisoner of War camp in Italy. They struggle against a sadistic camp Capitano (Peter Arne), the impending threat of a German takeover of the camp, internal personal clashes and a traitor in their midst as they try to escape. It sounds like heavy going but with a tight, often witty script and magnificent performances this is simply rivetting viewing. Richard Todd and Richard Attenborough (both underrated actors) especially shine out for their performances.
And there is the bonus of seeing a frighteningly young and skinny Michael Caine in a bit part!
Stands above the rest
raypdaley18213 February 2008
Warning: Spoilers
It gets the high score it deserves for daring to be different in so many ways.
Yes, its a POW film. Yes, their trying to escape.
So why is it so different?
Their jailers are the Italians who we so rarely see in POW films.
We have a murder mystery, a Who Done It to solve!
We also have a spy in the camp revealing the escape plans to the Italians.
It's a pretty good name cast with Richard Todd, Richard Attenborough and William Franklyn as the more notable names.
The film looks good, it's well scripted and you have an excellent bad guy in Benucci, the Italian Camp Commander.
The great storyline that they find the man they think is the spy dead in a tunnel which totally throws them off starts the who done it. It also stops them thinking about spies until they do reveal who the actual traitor is (I won't spoil that for you).
The ending after the escape is a tad weak, I would have liked to have watched more of their escape once they were outside the camp.
Overall its a very decent movie for its age. Thumbs up and recommended to those who like their War or POW films.
Yes, its a POW film. Yes, their trying to escape.
So why is it so different?
Their jailers are the Italians who we so rarely see in POW films.
We have a murder mystery, a Who Done It to solve!
We also have a spy in the camp revealing the escape plans to the Italians.
It's a pretty good name cast with Richard Todd, Richard Attenborough and William Franklyn as the more notable names.
The film looks good, it's well scripted and you have an excellent bad guy in Benucci, the Italian Camp Commander.
The great storyline that they find the man they think is the spy dead in a tunnel which totally throws them off starts the who done it. It also stops them thinking about spies until they do reveal who the actual traitor is (I won't spoil that for you).
The ending after the escape is a tad weak, I would have liked to have watched more of their escape once they were outside the camp.
Overall its a very decent movie for its age. Thumbs up and recommended to those who like their War or POW films.
"Tales of mens' shirts - a story of Down Under". Spike Milligan
ianlouisiana18 January 2012
Warning: Spoilers
"The prison camp was full of British officers who had sworn to die - rather than be captured".So the late - lamented Mr Milligan gently guyed the British P.O.W. film genre which by 1959 was beginning to run out of steam.Let's face it,blokes digging tunnels,comic opera "funny" or sadistic guards,walking around with trousers filled with dirt from the tunnel and doing endless calisthenics in flapping gym shorts can only have a limited appeal to even uncritical English audiences. However,adding the rather louche Mr M.Wilding and nice but dim Mr P.Jones as a kind of chorus was a nice touch by Bryan Forbes in "Danger within" which is otherwise merely competent with all concerned acting within their comfort zones. I am a great admirer of Mr B.Forbes as an actor,writer and director but I don't feel he was pushing the envelope here in any other department. I once worked with a former R.A.F. aircrew who,a week after being gazetted with his DFC was shot down over the Ruhr and spent three years as a guest of our European partners.He told me 90% of the P.O.Ws simply wanted to do their time as peacefully and painlessly as possible and get home in one piece. Those that planned escapes were avoided like Ronnie Stephens the sewer rat in "Danger within",albeit for different reasons. As former officers typed away at their memoirs,that aspect of their imprisonment seems to have somehow been downgraded.
Familiar, but well cast
Leofwine_draca12 July 2020
Warning: Spoilers
DANGER WITHIN is another WW2 flick about British soldiers trying to escape from a POW camp; this time around the setting is Italy rather than Germany or North Africa. It's a familiar enough effort that proves worth a watch thanks to the exemplary ensemble cast and the emphasis on the lean plot, which is always on escape and escape methods rather than adding in any extraneous material whatsoever. The hunt-the-traitor sub-plot is a nice addition too. Cast-wise, you get typical character work from Richard Attenborough and hard-headed heroism from Richard Todd; others like Bernard Lee, Dennis Price and Terence Alexander add tot the ambience. It's not a genre classic, but watchable if you like this stuff.
Officer priviledges
Coffee_in_the_Clink13 November 2023
This virtually forgotten British WW2 POW thriller is set in Italy in 1943. An officer's camp of around four-hundred men is under the command of a sadistic Italian general, who delights in discovering the breakout plans of the Allied POWs through his informants, as it allows him to wait for the escape that gives him the excuse to kill the men, rather than stopping it at source. This thriller moves along at a nice pace. It suffers from being a tad lifeless, in the cinematography and directing, but the performances are stellar, as is the writing and character development. A very young Michael Caine makes an appearance towards the end.
Always watchable
richard-meredith2712 July 2005
This is one of my favourite POW films. But in fact 'Danger Within' is not just a POW film as such, it also falls into the Britfilm murder mystery genre.
The source for the story is a Michael Gilbert mystery 'Death in Captivity'published in the mid 1950's. It,s a cracking read and compliments the film as some narrative elements had to be changed for filmed purposes. The play within the story is different, and motivation of hero and villain is slightly more efficiently. It also gives you a glimpse into what happened after the mass escape.
For the Buff, spot Michael Caines first screen appearance, note the film's technical relationship to 'The League of Gentlemen', made in 1960 and watch the two on the same bill for a rewarding afternoon viewing.
To my mind this film also lifted Terrance Alexander from the rather predicable comedy character roles he was playing to top notch light drama actor. And Bernard Lee once again proved how dependable and useful he was in films filled with better known faces.
The source for the story is a Michael Gilbert mystery 'Death in Captivity'published in the mid 1950's. It,s a cracking read and compliments the film as some narrative elements had to be changed for filmed purposes. The play within the story is different, and motivation of hero and villain is slightly more efficiently. It also gives you a glimpse into what happened after the mass escape.
For the Buff, spot Michael Caines first screen appearance, note the film's technical relationship to 'The League of Gentlemen', made in 1960 and watch the two on the same bill for a rewarding afternoon viewing.
To my mind this film also lifted Terrance Alexander from the rather predicable comedy character roles he was playing to top notch light drama actor. And Bernard Lee once again proved how dependable and useful he was in films filled with better known faces.
POW wow
greenheart9 April 2007
There's something about POW escape dramas, you rarely get a poor one. Firstly, unusual to see one set in an Italian camp. I'm not sure the harsh reality of POW camps were put across here, but that's not necessarily what the movie was trying to do. What it does have is an interesting script that moves along at a healthy pace. this is helped by a top notch cast who are all utterly believable. There are definite comedy moments but they don't detract at all from the action. This film was over in what seemed like no time & I would watch it again in a heartbeat. Two minor quibbles. I thought the informant was revealed a shade too early for me and I never felt that his motivation was sufficiently explored. Great, Boys own stuff.
Not, by any means, as good a film as it could have been
JamesHitchcock25 May 2012
Warning: Spoilers
Films about prisoner of war camps ("The Wooden Horse", "The Colditz Story", "Stalag 17", "Bridge on the River Kwai", "King Rat") were popular in both the American and British cinemas during the fifties and sixties, and "Danger Within" is another in this tradition. The film is set in a POW camp in Northern Italy during the summer of 1943, a camp which houses British, French and other Allied captives. The British officers come up with a number of ingenious escape plans, but the Italians succeed in foiling them all, and many inmates begin to suspect that there is an informer in their ranks. The prime candidate is a Greek officer, Lieutenant Coutoules, and when he is found murdered there is no shortage of suspects.
The film is unusual in that the captors are Italian rather than German or Japanese. In British and American war films of this period (and occasionally in films made during the war itself, such as "Sahara"), Italians were generally portrayed in a sympathetic light, as unwilling partners in the Axis who had been dragged into the war by Mussolini's folly, but in this film they are the villains. (Their German allies only make a very brief appearance). Indeed, the main Italian character, Captain Benucci, is a vicious sadist, quite as brutal as any Nazi. In reality German and Italian guards were generally unwilling to shoot escaping prisoners if they could avoid it- in all the many attempted escapes from Colditz only one British prisoner was shot dead- but Benucci takes a psychopathic delight in gunning down escapers when he could quite easily capture them alive.
The film stars a number of leading British actors of the period, including Richard Attenborough, Michael Wilding, Bernard Lee, Dennis Price and Richard Todd, who seemed to star in just about every British war film that didn't star John Mills or Kenneth More. Despite all the talent on display, however, the film is something of a disappointment. I think the main reason is that it introduces a number of serious themes and then fails to develop them properly. After the death of Coutoules it appears to be developing into an unusual murder mystery, but the mystery is quickly cleared up and well before the end of the film we learn the identity of the murderer and his motive. (It has already become apparent that the Greek was not the informer).
We also learn who the real informer is, but the film misses the opportunity to examine his motives and the question of what might persuade a man to betray his country in this way. Another potentially interesting theme which is not explored is the division among the British officers between those who are keen to escape as soon as possible and those who prefer to sit out the war in the safety of the camp. The former regard the latter as dishonourable and the latter regard the former as foolhardy. These potentially interesting themes, however, are never explored properly, being subordinated to an implausible "Boy's Own" ending in which Benucci and the traitor get their come-uppance and the whole of the camp make a mass breakout under cover of watching a production of "Hamlet". Not, by any means, as good a film as it could have been. 5/10
The film is unusual in that the captors are Italian rather than German or Japanese. In British and American war films of this period (and occasionally in films made during the war itself, such as "Sahara"), Italians were generally portrayed in a sympathetic light, as unwilling partners in the Axis who had been dragged into the war by Mussolini's folly, but in this film they are the villains. (Their German allies only make a very brief appearance). Indeed, the main Italian character, Captain Benucci, is a vicious sadist, quite as brutal as any Nazi. In reality German and Italian guards were generally unwilling to shoot escaping prisoners if they could avoid it- in all the many attempted escapes from Colditz only one British prisoner was shot dead- but Benucci takes a psychopathic delight in gunning down escapers when he could quite easily capture them alive.
The film stars a number of leading British actors of the period, including Richard Attenborough, Michael Wilding, Bernard Lee, Dennis Price and Richard Todd, who seemed to star in just about every British war film that didn't star John Mills or Kenneth More. Despite all the talent on display, however, the film is something of a disappointment. I think the main reason is that it introduces a number of serious themes and then fails to develop them properly. After the death of Coutoules it appears to be developing into an unusual murder mystery, but the mystery is quickly cleared up and well before the end of the film we learn the identity of the murderer and his motive. (It has already become apparent that the Greek was not the informer).
We also learn who the real informer is, but the film misses the opportunity to examine his motives and the question of what might persuade a man to betray his country in this way. Another potentially interesting theme which is not explored is the division among the British officers between those who are keen to escape as soon as possible and those who prefer to sit out the war in the safety of the camp. The former regard the latter as dishonourable and the latter regard the former as foolhardy. These potentially interesting themes, however, are never explored properly, being subordinated to an implausible "Boy's Own" ending in which Benucci and the traitor get their come-uppance and the whole of the camp make a mass breakout under cover of watching a production of "Hamlet". Not, by any means, as good a film as it could have been. 5/10
Excellent POW Drama!
ronevickers14 February 2008
This is an absorbing, exciting and thoroughly entertaining British POW drama which has a cast that reads like a veritable who's who of British character actors. Not one of them disappoints either, and there are especially sterling performances from Richard Todd, Bernard Lee and Richard Attenborough. In fact, it's a perfectly casted film which holds attention throughout, and has a plot which moves along nicely to a clever and quite novel conclusion. Although there are scores of similar films made on the subject, this is definitely one of the very best and, anyone who has not yet seen it will not be disappointed. Highly recommended!
Great film!!
Aliebarnes4 June 2004
Just watched it on Channel 4 and loved it, very good cast and overall very enjoyable.
Full of great actors including Richard Attenborough and Tony Todd A bit different from the usual escape movies, in that there's some intrigue and tension caused by a informer within the British ranks this results in the deaths of 4 British prisoners before they finally work out who it is.
I do like the 50/60 British films and this is another that i will definitely watch again.
Full of great actors including Richard Attenborough and Tony Todd A bit different from the usual escape movies, in that there's some intrigue and tension caused by a informer within the British ranks this results in the deaths of 4 British prisoners before they finally work out who it is.
I do like the 50/60 British films and this is another that i will definitely watch again.
Classic Escapism
alanpriest-5391613 May 2020
With a stellar cast and serious input from Bryan Forbes this film was never likely to fail. Whilst not quite up there with "The Great Escape" or "The Password is Courage", this remains a must-see for anyone who loves the British movie POW genre. As I said, the cast could hardly have been bettered at the time (and probably since) and all involved are at the top of their game. Even a fairly young Michael Caine gets a look-in with an uncredited 'blink and you miss it' role - this film is not quite perfect but follows closely behind.
Faultless, with gems of actors.
ouzman-129 November 2020
Stool pigeon, murder and a duck, what's not to like? Technically very well produced and directed. Great British actors play the good guys and the evil Capitano Benucci too!
Bryan Forbes hallmark is all over this and incredibly enjoyable for that influence. (A legend of British cinema and no idea after almost single handedly saving EMI and the British cinema wasn't knighted? Hey ho!)
The film unfolds and becomes a whodunnit as much as a great escape film.
Watch it and enjoy.
Bryan Forbes hallmark is all over this and incredibly enjoyable for that influence. (A legend of British cinema and no idea after almost single handedly saving EMI and the British cinema wasn't knighted? Hey ho!)
The film unfolds and becomes a whodunnit as much as a great escape film.
Watch it and enjoy.
The hamletic escape
GianfrancoSpada21 November 2023
Interesting thriller set in a POW camp in Italy, with discreet yet well-executed cinematography throughout. The exceptionally chosen cast, including the presence of a young Michael Caine in a minor role, is very believable and performs superbly through a simple yet well-narrated storyline. The good, classically styled cinematography, well-structured dialogues with a good dose of English humor, precise camera work without technical showing-off, make this movie a classic in its genre and a delight for enthusiasts of war themes.
Perhaps life in the POW camp has been overly idealized, and the movie doesn't faithfully depict how harsh life has been for many prisoners in these camps. It might slightly trivialize the daily struggles the internees had to endure. However, it's worth noting that this is a comedy, not a documentary. Especially considering that at the time of filming, the relationships between countries-Italy, the United Kingdom, and partially France-were already of allied nations closely collaborating within NATO.
As is often the case in British productions, Italians don't come off entirely well. Even though in this film, they haven't been entirely ridiculed in their manners, undoubtedly, the highly successful ending with the escape of an entire camp isn't something that can be considered a fair portrayal of Italians, especially considering this is a historical fiction, and such an escape never occurred in any Italian camp under those circumstances.
Perhaps life in the POW camp has been overly idealized, and the movie doesn't faithfully depict how harsh life has been for many prisoners in these camps. It might slightly trivialize the daily struggles the internees had to endure. However, it's worth noting that this is a comedy, not a documentary. Especially considering that at the time of filming, the relationships between countries-Italy, the United Kingdom, and partially France-were already of allied nations closely collaborating within NATO.
As is often the case in British productions, Italians don't come off entirely well. Even though in this film, they haven't been entirely ridiculed in their manners, undoubtedly, the highly successful ending with the escape of an entire camp isn't something that can be considered a fair portrayal of Italians, especially considering this is a historical fiction, and such an escape never occurred in any Italian camp under those circumstances.
Excellent film
shoneyz31 August 2020
Warning: Spoilers
But he carried his revolver as entered the camp was never an automatic as has been suggested also bernard less had to have help getting out of tunnel exit not shown lovely implausible movie but great enthusiasm and entertaining
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