El tren

The big star of Frankenheimer's film is the train itself... And the plot is based on the characteristic of railroads—engines and cars all over the tracks, cabs and steam—all shown on enough detail to keep the viewer in great suspense… The aerial strike shots are also wonderfully taken…

The film begins in Paris, August 2, 1944…

It's 1511th day of German occupation… The liberation of Paris seems very close…

Nazi Colonel Von Waldheim (Paul Scofield) decides suddenly to remove by train to Germany the best of Impressionist masterpieces… His objective is clear: "Money is a weapon. The contents are as negotiable as gold and more valuable."

Mademoiselle Villard (Suzanne Flon) informs the Resistance of the shipment…The Resistance reaction is to stop the train without damaging the national heritage… "They are part of France." But stopping the train is not a simple task… You can get killed especially if you are French and the train is German…

Labiche (Burt Lancaster), the Chief Inspector of the French Railway System, is not impressed… However, he never communicates his political, ideological, or nationalistic convictions, "For certain things, we take the risk," he said; "but I won't waste lives on paintings."

When an aged engineer, Papa Boule (Michel Simon), is accused of sabotage in spite of saving the train through the Allied's bombs at the risk of his own life, Labiche is forced into combat…

It begins with a long sequence where an armament train and the art train are both trying to leave the yard in the morning… As they are being moved back and forth across the tracks, the viewer knows that British planes will hit the yard in that moment at exactly 10:00 o'clock…

New complications are introduced, but the central conflict always returns to an obsessive art lover against a man with no appreciation for art… Labiche's only concerns is to slow down the Nazis keeping himself and his compatriots alive…

Now, two forces control the film… The first is Frankenheimer's cleverness to choreograph the real trains… Frankenheimer and his cinematographers capture the heat of the engines, the noise and sound of the cars in motion, the fault in the oil line, the crushing strength implicated when the machines come into collision and the derailment… The second force is Lancaster, the "headache" of the fanatical obsessed Colonel whose desire is to see the priceless paintings in Nazi Germany...

Like everyone else who has posted here, I think this film is superb. Brilliant screenplay, excellent acting, exceptional directing, and so on and so forth. I think there is one little twist to the screenplay that deserves mention. Burt Lancaster has not one spoken line in the final 20 minutes of the movie. I can't recall ever seeing that done with a major character in a mainstream film. His actions ARE his words. In the final scene, we know exactly what he is thinking without him saying a word. A lovely subtle touch and the crowning moment in a truly great film.

The movie is about a episode that happened in 1944. When France was still occupied by the Nazis, they decided to steal paintings from the Paris museums. This film is about a shipment that the French has to save before he ends to Germans, but they also don't want to be destroyed in the process.

Burt Lancaster stars as a French train engineer that has to transport the shipment. At first is not a easy task, but he succeeds in the end. Meanwhile he becomes friend with a hotel owner played by French actress Jeanne Moreau (that passed away last year). And the other members of the cast are fine. Paul Scofield as a German general is great (and Scofield also starred in other great movies after this), and it was a treat seeing French comedian Michel Simon in a war movie (just like Bourvil in THE LONGEST DAY).

This movie had great direction by John Frankenheimer, great performances by all the actors, and also great photography in Black and White. Although a bit dragged in some places, it was still great to watch! And as a fan of the history from 1850 until these days, I liked the movie for his accuracy and his action scenes.

A nonverbal action movie that stars Burt Lancaster as a train operator trying to thwart the plans of Nazi operatives to move precious artworks from France to Germany in the last losing days of WWII.

John Frankenheimer directs in stark black and white, and the film has his trademarks all over it -- kinetic compositions, rapid-fire editing, ragged documentary look and feel. Paul Scofield also stars as the obsessed Nazi and Jeanne Moreau has a role as a French woman who reluctantly aids and abets Lancaster. The sheer physical production is astounding; in the days before CGI would have done everything for them, Frankenheimer and company staged massive set pieces involving bombed railroad yards, crashing trains, you name it. I can only imagine how much pressure the special effects guys were under to get everything right the first time because re-staging it for a second try would have been a bear.

"The Train" brought Franklin Coen and Frank Davis an Academy Award nomination for Best Original Story and Screenplay at the 1965 Oscars.

Grade: A-

The premise truly fascinated me, a premise or at least subject that sounded like the film would be a powerful one. John Frankenheimer was responsible for some great work, 'The Manchurian Candidate' instantly coming to my mind as being one of his best. The cast would be reason enough on its own, so imagine having the subject and Frankenheimer as director also being big main reasons, to see it, having admired a good deal of work from both Burt Lancaster and Paul Scofield.

Seeing 'The Train' two days ago, what instantly came to my mind after watching was "wow!" Like most people here, to me this was a pretty exceptional film that really packs a punch in a way that not many films of its year, decade or even genre at this point of film history did. Truly powerful work that took risks and pulls no punches in a way that still has the ability to shock, no trivialising or sugar-coating here. Quite the opposite. As far as WWII films go, it is one of the best and despite being highly praised deservedly more people should know about it, it is really quite something and unlike a lot of films personally seen.

Maybe 'The Train' runs a little too long by about 15 minutes or so, which occasionally (emphasis on that word) affects the pace.

On occasions too early on, for my tastes Maurice Jarre's music score jarred a bit and like it belonged more in a comedy.

Conversely, there are so many strengths (which is actually pretty much everything else) and everything else is executed flawlessly. 'The Train' is quite masterful visually, the photography is full of atmosphere and played a huge part in making the train itself like its own character. Have never seen a train so cleverly, intimately and powerfully used. The French locations are incredibly well utilised, some of the best use of French locations for any film seen in a long time from personal view. On a technical level, the action with the train is enough to make the jaw drop today. Frankenheimer's direction is hugely accomplished and not since 'The Big Parade' as far as recent film viewings go has there been direction for any film that was this visually flawless. Most of Jarre's score works very well, when it becomes more subtle and more harmonious with the atmosphere it is quite hauntingly unsettling.

Script is very intelligent and thought-provoking, taut enough while allowing breathing space yet not rambling. The story is hugely compelling, is very intense especially the exciting action with the train and is emotionally powerful. Found myself quite moved and shocked at how much the more uncompromising moments (and there are many) wrenched the gut, haven't seen an ending this poetic in a while either. The characters are well defined and interesting. There are great performances from all, with Lancaster superb in one of his best performances. He tells so much with his face and eyes and could tell he meant every word with his line delivery, he is especially good in the last twenty minutes where words are few but one intensely feels his hurt and anger. Scofield has seldom been nastier or at times even frightening. Jeanne Moreau's role isn't huge but she is sympathetic in it and an atypically cast Michel Simon is very telling in his.

In summary, exceptional and one of the best WWII films. 9/10