Showing posts with label germany. Show all posts
Showing posts with label germany. Show all posts

The Song of the Lark (2001) Review

The Song of the Lark (2001)
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After the horrid job Hollywood did on her novel A LOST LADY, Willa Cather refused to allow her works to be converted to dramatic form--and she put it in her will. But that was before Masterpiece Theater raised the stakes for the transformation of literary classics to film. Now that a few of Cather's works are no longer in copyright, some have been filmed with mixed results. The Masterpiece Theater film, THE SONG OF THE LARK, is the best of the lot, a fine presentation of the story of a young girl who finds her voice when she connects the two things--the western lands and the music--that she loves. This production has the good sense to end the story at its climax, leaving the weaker ending (which Cather herself acknowledged) to the reader's imagination.

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The Nasty Girl ( Das Schreckliche Mädchen ) Review

The Nasty Girl ( Das Schreckliche Mädchen )
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German playwright Bertolt Brecht felt that theatre should teach the audience certain moral lessons, and to this end he developed a mode of presentation frequently described as "theatre of alienation"--a type of production in which the audience is never allowed to fully indentify with the characters and their situations and is instead asked to critically observe the material and draw conclusions from it. For the most part, this is a style that works best on the stage--but director Michael Verhoeven uses it as a springboard for THE NASTY GIRL. And the result is one of the few instances in which these Brechtian concepts come successfully to the screen.
The story is wickedly funny. A bright young lass, the daughter of two teachers, wins an essay contest--and when the next contest is announced she again decides to compete, this time with an essay on "My Hometown During The Third Reich," in which she plans to show how her small Bavarian town resisted Nazism. But few, even those regarded by the townfolk as heroes of that era, are willing to discuss it--and those that do provide conflicting information. She eventually gives up the project, but it continues to fester in the back of her mind, and some years later when she resumes her research with the idea of writing a book she discovers that the anti-Nazi heroes were not, perhaps, either anti-Nazi or heroic.
The main thrust of the film centers upon Sonja's relentless battle against the powers that be to obtain access to documents from the Nazi era, and how civic leaders work to frustrate her--both by persistently dodging her demands for the material and by direct terrorism. But their resistance makes Sonja all the more determined, and she becomes willing to pay any personal price. Ultimately, she does arrive at some of the truth, only to discover that she has now been enshrined by civic leaders as a "hero" in an effort to silence her with praise.
Director Michael Verhoeven presents the story in an odd mix of documentary and theatrical and realistic styles that mesh extremely well to create that famous Brechtian effect without ever actually seeming preachy. And leading actress Lena Stolze, as "the nasty girl" who accidentally drifts into the role of advocate for the truth at any price, is equally remarkable: she gives a very likeable, bemused performance that draws the viewer in even while maintaining the necessary degree of detachment the style requires. Not all viewers will appreciate the film--some will find the subject too dark, others may not be able to buy into the style--but this is a brilliant film, and you owe it a chance. Strongly recommended.

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Before the Fall (2004) Review

Before the Fall (2004)
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BEFORE THE FALL ('NAPOLA') is a brilliantly made film that addresses the blind hopes of youth in becoming a success as a man, a factor that allowed and allows dictators to entice young men into the realm of warriors under the guise of applauded bravery and the golden promise of achieving glory for a great cause. This story just happens to be about Hitler and his 40 Napola (training camps for the elite German youths in 1942) and the young boys and men who trained in these National Political societies. It could be found in many places and in many times...
Friedrich Weimer (handsome and talented young Max Riemelt) comes from the lower class in Germany (his father is aiming him toward factory work) and is a fine young boxer. His talents are noted by some representatives from the Nazi party and he is asked to report for enrollment in a Napola, an important means of education and training that Friedrich sees as being his way to become something special, someone important. His father is anti-Nazi and refuses to let Friedrich go, but Friedrich is determined and runs into the night to join the Napola. Once there he is admitted, groomed as a boxer for the Napola, and introduced to the Hitler's youth movement. His fellow classmates vary from the very wealthy to other fine Arian lads. They are trained, observed, and brainwashed as to the glory of the Thousand Year Reich. Problems begin to arise when Friedrich gets to know his fellow classmates: Siegfried (Martin Goeres) is a bedwetter and is humiliated publicly for his problem; Albrecht (Tom Schilling) is a poet and writer whose father is one of the governors of the Napola and Albrecht is anti-war; other lads seem on the surface to be obedient yet most have hidden reservations about what they are doing.
Being 1942 some changes are occurring in the Nazi dream and the Senior class is sent out on a mission to fight the enemy. And one night Friedrich's class is called out of bed and sent into the woods to find Russian soldiers who are 'threatening' their security. The boys open fire on the Russians only to find that they have killed a number of unarmed Russian boys. This profoundly disturbs them all, but Albrecht in particular. Friedrich continues to observe the manner in which he and the other boys are used and slowly his best friends find ways to martyr themselves and ultimately Friedrich does the same in his only way - by changing the way he approaches the Napola expectations of his boxing.
Max Riemelt as Friedrich is outstanding: not only does he have the solid extraordinary good looks but he also can act, satisfying every nuance of this challenging role. The remainder of the cast - both young boys and the adults running the Napola - are superb. The cinematography is subtly beautiful, ranging from the tough interiors inside to the vistas of a Germany before it was destroyed by the not too distant fall. Director Dennis Gansel, who co-wrote the script with Maggie Peren, is a young man (the featurette with the DVD has an enlightening conversation between Gansel and Riemelt) knows exactly how to capture both the wide-eyed innocence of youth and the slowly crumbled ideals of young men. This is an outstanding film to see and experience. Its lessons are terrifying and intense. In German with English subtitles. Grady Harp, June 06



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Hansel & Gretel (2002) Review

Hansel and Gretel (2002)
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With movies and books constantly having regurgitated story lines and predictable characters, this one is a refreshing difference. For those who berate this movie because it has flagrant disregard to the original story, I remind you of what Disney has done (and continues to do) to classic stories, such as "The Little Mermaid" and "Aladdin." Those movies are great because they have modern experiences put in so that children of today can relate. "Hansel and Gretel" does the same thing. What results is a hilarious, visually-stimulating, modern retelling of a story we have all grown to memorize, with an all-star cast. The movie is very satirical, that is why sometimes it seems "overdone," but over-all it's a great movie for children of all ages (especially the parents). Laughs and chills abound with this fairytale!

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When their wicked stepmother strands them in the Magic Forest, things look Grimm for little Hansel and Gretel. On their enchanted odyssey, they encounter everything from a scatter-brained Sandman and a bumbling Boogeyman to a wonderfully Wicked Witch who really likes kids - well-done! DVD Features:Electronic press kit:Behind The ScenesFeaturette:How To Make A Gingerbread House Guided Tour of The Monster ShopTheatrical Trailer


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Morituri Review

Morituri
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It's thought by many that Marlon Brando was probably one of the greatest actors to grace the silver screen, if not one of the weirdest (at least later in his life). Based on that alone (his acting, not his weirdness), I purchased Morituri (1965), having heard little to nothing about the film. The fact it also stars Yul Brynner didn't hurt either. Regardless, I am glad I picked this one up, as it's really quite good.
The title, as far as I can tell, is Latin meaning `for those about to die', which seems apt after watching the film. Directed by Bernhard Wicki, someone I've never heard of, probably because he was an Austrian who mainly directed German films, the film stars Marlon Brando and Yul Brynner. Also appearing are Janet Margolin (Nevada Smith), Trevor Howard (The Third Man), and a German actor I've never heard of named Martin Benrath who I thought was quite good.
The film, set during WWII, begins with German Captain Rolf Mueller being given charge of a cargo ship, leaving Japan and destined for occupied France, one that contains critical raw materials, mainly rubber, important for Germany's war effort. He's none too happy with his assignment, as some of the crew is made up of undesirables and political prisoners destined to be tried upon arrival (I would guess they wouldn't be to eager to reach their destination). The Allied forces, on learning of the contents of the ship, approach Robert Crain, a German demolitions expert and ex-patriot hiding in English ruled India, for the purpose of getting him on the ship, not to blow up the ship, but to disarm the scuttle charges (apparently German ships contained explosives so that if they were to get captured, the captain was to detonate the explosives and `scuttle', or sink, the vessel to keep it out of enemy hands). The Allies want the contents of the ship, not only to hinder Germany's war efforts, but also to assist their own. With assistance, Crain does get aboard the ship, under the guise of an SS security officer named Hans Kyle. Members of the SS, it seems, were not entirely popular by any one's account, especially not by other Germans (think the police and their dislike for their own internal affairs division). This creates complications for Crain/Kyle, as he must secretly search the ship for an unknown number of explosive charges, disarm them, within a certain amount of time, all while keeping the captain and the crew `in the dark'. Not only that, but the ship is forced to take on a group of American prisoners for transport. Things are getting hairier by the minute...
Most of the film takes place on a cargo ship, providing for a very claustrophobic, tense atmosphere throughout. Brando plays his role in a very subdued manner, but it works well. I thought his German accent a bit odd, not entirely bad, just odd, but I got used to it, especially since the movie runs about two hours. Not only did Brando have the acting chops to pull off his character, but he also had the physique, as he had to run, climb, swing and crawl to get around the ship to disable the explosive charges. He seemed very within character, especially the parts when his character discussed his feelings against against war in general. Brynner was also very good as a non-party German, who, while maybe not believing in his leaders political motives, wasn't a traitor either. I really liked the diverse complexity, including compassion and kindness, of his character, the sailor committed to his duties, forced to captain this particular ship with a questionable crew.There was a great deal of character development throughout, which served well to really display the differences among the German people in general with regards to their feelings and loyalties towards their leadership and/or their country. I thought the direction of the film to be really good, as the camera always seemed position in such a way to capture the best possible point of view for that particular scene. The story moved along well, although some will say it was too slow, but I didn't think so...I found myself pretty much glued to the screen, enjoying all aspects of the movie. One of my favorite scenes was when Crain/Kyle is confronted in closed quarters by two German officers from the submarine, which delivered the American prisoners. His ability to play on their own sense of paranoia as they questioned him about his reason for being on the ship was very intelligent and interesting to watch. The plot is complicated, but if you can watch with no distractions, you should be able to follow it along well.
The anamorphic wide screen picture on this DVD looks pretty good, but I did feel it could have been cleaned up a little. There were some very minor flaws visible every once in awhile, but the main thing I noticed was the `softness' in the black parts when scenes were heavily shadowed. It's kind of hard to explain, but a bit more noticeable than the other flaws. As far as special features go, there's a teaser trailer for the film (I'm unsure who made this, but after watching the movie, I felt the person who did make it had no idea or even a sense of what the film was about, as it presented something other than what the movie was, at least I felt), and original theatrical trailer, and trailers for some other, older Fox war films like Crash Dive (1943), The Hunters (1958), and What Price Glory (1952). All in all, I thought Morituri was very decent, well made film rich with characters and a complex plot that rewards those with the patience to enjoy the more sophisticated side of films (I'm not trying to be snobby here, but I do feel this film hasn't gotten the attention it deserves, unduly so).
Cookieman108


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Suspenseful action highlights this film in which Marlon Brando and Yul Brynner team up to defuse a Nazi freighter, poised to explode upon capture.

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Red Riding Hood Review

Red Riding Hood
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My almost four year old granddaughter picked this film as she already knew the story of Little Red Riding Hood from her mom and dad. I was a little concerned it might be too scary as it is PG but I should have realized that she was able to handle it very well.
The wolf is a werewolf. Lainie Kazan is the grandmother and is reading the story to her grandchildren. Lainie is wonderful in this!! If you are over 50 you may remember her singing on the Mike Douglas Show or on Ed Sullivan.
While the wolf swallows people whole, it is done by special effects that make it look cartoonish thus not scaring even my granddaughter! She really loved the whole film and was very enthusiastically telling her aunt, one of my other daughters, how good it was!!
If you have a mature preschooler who understands pretend and cartoon violence, they will enjoy this as the singing and fun stuff are hilarious. There is a precarious situation for the two kids in the film but even that is broken by humor and turning out not to be as dangerous as it looks. Otherwise I would recommend the viewing be by at least 5 or 6 year olds.

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The Sissi Collection (2007) Review

The Sissi Collection (2007)
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This delightful trilogy tells the story of Elisabeth of Bavaria (nicknamed Sisi) who ascended to the Austrian throne at the age of 16 upon marrying her cousin Franz-Josef. In doing so, she became Empress of Austria and beloved Queen of Hungary.
Elisabeth's beauty was legendary. 17-year old Romy Schneider was perfect in the role of the enchanting, outgoing, free-spirit. She plays Sisi from the age of 15 to her mid-20s when the last film ends.
The films were made between 1955 and 1957 as an Austro-German co-production under the helm of Austrian director Ernst Marischka. They are not historically accurate. They are in the style of mid-50s romantic comedies, good-natured and innocent and with a large dose of cornball humour. To modern viewers they may appear dated, schmaltzy and yes corny.
The first film "Sissi" is my favourite. It has the most pageantry and is the archetypal romance with the fairy-tale ending. It begins with Elisabeth's chance meeting with the young Franz-Josef, literally "hooking" him while out fishing in the lakes around Austria's picturesque Salzkammergut. It chronicles their secret whirlwind romance against the wishes of their parents and ends with the lavish Royal Wedding in Vienna amidst general rejoicing.
"Sissi: Die Junge Kaiserin" (The Young Empress) charts the first year of her marriage to Franz-Josef, her unhappiness at court, the meddling of her mother-in-law, her championing of Hungarian rights and ends with the Hungarian coronation.
"Sissi: Der Shicksalsjahre einer Kaiserin" (The Fateful Years of an Empress) chronicles her estrangement from the Austrian court, her diagnosis with a severe lung disease, presumably tuberculosis and her moving to warmer climes; her travels to Madeira, Corfu, Athens, Milan and Venice. The third film takes the most liberties in conflating fact and fiction. All the sad parts of her life have been removed or altered. The film ends with the Imperial Family meeting the Pope at St Mark's Basilica in Venice. The final lingering shot is of the happy family waving at their loyal Italian subjects in the Piazza San Marco as the band strikes up Haydn's rousing Kaiserhymne one last time.
Each of the 3 films is presented on its own individual disc. Disc 4 contains the 139min abridged version shown in America. It is recut with scenes reordered and dubbed into English and contains a new title song "Forever My Love" sung in English. In doing so it omits the original Sissi theme music. It is too truncated for my liking though American viewers averse to reading subtitles and not wanting to spend 5-plus hours on the originals may find this a worthwhile substitute.
Disc 5 contains the 1954 film "Mädchenjahre einer Königin" (Youthful Years of a Queen). 15-year old Romy Schneider plays Britain's newly crowned Queen Victoria. Amidst the scheming to get her married off to one or other of the royal houses of Europe, she travels to Dover and falls madly in love with a dashing young man who turns out to be the love of her life, Prince Albert of the German House of Saxe-Coburg and Gotha. Like the Sissi films this is also a light-hearted romance with humour provided in the form of the 3-stooges-like ladies-in-waiting and the young Queen's bumbling old manservant. Nice costumes and sets but not on the scale of the Sissi films. And the lovely Miss Schneider is much too beautiful to be believable as the stumpy, dour-faced Queen. Still it is a nice change from the Austrian court. And after 4 films filled with the Kaiserhymne (Deutschlandslied), it's actually a pleasure to hear "God Save The Queen" once again. The film is in German with optional English subtitles.
Picture quality is excellent in the main Sissi Trilogy. The entire trilogy has been restored and remastered. A few scattered instances of damaged and off-colour segments can be found but they are thankfully rare. All 3 films are presented in their original 1.33:1 aspect ratio (fullscreen). Sound quality is clear 1.0 mono, although it tends to be very bright, noticeable especially when the children come screeching onto the screen. Overall, very pleasing picture and acceptable sound. Optional English subtitles are provided. The 139min American version has NOT been restored. Contrast is set pretty high, the image looks a lot brighter, washed out at times, and colours are slightly off - Franz's blue uniform looks almost green at times. "Mädchenjahre einer Königin" has similarly not been restored and suffers from the same deficiencies. Still they are watchable, about comparable to a TV broadcast of vintage 50s material. Extras are pretty limited: A trailer each for the first and last Sissi films and a vintage 18-minute "Behind the Scenes" featurette for "Die Junge Kaiserin" on Disc 2. Romy Schneider takes us through the filming at the Schönbrunn Summer Palace, the honeymoon in the Tyrolean Alps, and Fuchsl Castle which stands in for Sisi's childhood home of Possenhofen. Three truly delightful gems from the past, beautifully restored. The price though should be a little lower.

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At the age of seventeen, Romy Schneider became an international star through her portrayal of Princess Elisabeth (Sissi) of Austria in the first of three lavish films directed by Ernst Marischka.While she would go on to work with some of the most influential and daring European directors of the era, Schneider will always be remembered by this defining role.Now for the first time on DVD, KOCH LORBER Films proudly presents the restored "Sissi Trilogy" (Sissi, Sissi: The Young Empress, Sissi: The Fateful Years of an Empress) in its entirety along with the U.S. theatrically released, English-language dubbed version, Forever My Love, and Victoria in Dover (The Story of Vickie), a precursor to the trilogy in which Schneider plays Britain's Princess Victoria.

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The Big Red One - The Reconstruction (Two-Disc Special Edition) (2005) Review

The Big Red One - The Reconstruction (Two-Disc Special Edition) (2005)
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Whenever I would catch it on cable years and years ago, Sam Fuller's "The Big Red One" was a quirky war movie with strange pacing and a very uneven balance of comedy and tragedy, of high and low-- several great moments strung loosely together. Working on the upcoming DVD, I was not aware of the fact that Fuller had shot 4 hours or that he wished to his dying day that the film would be lengthened, and I was skeptical as I always am with extended versions (this one carries the subtitle "Reconstruction"). I got to look at it several times, once for business and twice more for pleasure, because the film is transformed and made great, and there are so many memorable scenes that one wants to go back to it again and again. 40-plus minutes have been added on, some full scenes, some simply extended bits to old scenes. The narrative structure of the movie is still very free and loose, very episodic, but the greater length is absolutely crucial to the plot, since we are meant to get at least some slight idea of the tedium and homesickness that goes along with being a soldier in an ongoing war. Fleshed out is the character and performance of Lee Marvin--everything that he is capable of as an actor, everything that that stone wall of a face can convey is on display here--tough as all hell but with a simultaneous sweetness that can be, when called upon, heartbreaking. Look at his expression when a gunfight breaks out after the Italian girl places flowers on his helmet--he jabs the rifle into position along his chin and begins firing rounds, his face jerking only slighty with each shot. We don't see anything of the gunfight, only close-up on his face and the expression says nothing and everything all at once--we're meant to meet him halfway and fill in the blanks ourselves. He makes it easy for us because by this point in the movie we know what kind of a man he is. And because this is Sam Fuller, the movie has a diabolical sense of humor, sometimes downright hilarious, as when some of the boys swap sexual fantasies, some of which have become warped and deranged after so much time in battle. Another sequence has the Sergeant and the boys of the One helping to deliver a baby inside the belly of a German tank--the mispronunciation of the French word for "push" setting the stage for some verbal slapstick. This juggling of moods doesn't seem quite so out of place in the longer version, and I get the impression that if they ever decide to cut together the 4-hour picture that Fuller had intended, we still wouldn't tire of the characters or their tours of duty. But as it stands now at 2 hours, 40 minutes, it has been rounded out for us and has jumped to the top of the heap alongside the small handful of truly important movies depicting war. The most common complaint I hear is that the German tanks are clearly American tanks dressed-up. This is true-- if you are searching for dead-on accuracy and detail in set design such as in Private Ryan, this is not for you. "The Big Red One" is a gritty personal little movie that is not burdened by the kind of strained sentimentality that sometimes hampers Spielberg. It can be at times surreal and absurd, but not the kind of surrealism that floats above and transcends the actual war as in "Apocalypse Now"-- it keeps its feet firmly on the ground. The tanks don't pass the test, but the characters more than make up for it... Lee Marvin's nameless Sergeant, stone-faced, intransigent, whose tragic prologue sets up a touching epilogue... Keith Carradine's cigar-chomping, novel-writing Private Zab-- a fill-in for Fuller, who lived all these experiences in his days with the Big Red One-- and Mark Hamill's Griff, the most fleshed-out character, whose unforgettable finale in the Falkenau concentration camp gives new meaning to Conrad's notion of "shelling the bush". The Falkenau scenes, by the way, were shot, like much of the movie, in Israel with Jews playing the Nazi wardens--a surrealistic slap in the face to anyone itching for strict realism in their war flicks. Inconsistencies be damned. This is a great one, and now, thanks to Richard Schickel and his gang, a fuller Fuller movie, a very generous update of a picture that never got a fair chance its first time around.

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DVD Features: Audio CommentaryDocumentariesPhoto galleryTV SpotTheatrical Trailer

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Battle of Britain (1969) Review

Battle of Britain (1969)
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The Battle of Britain is one of my favorite films. Great cast, classic flying scenes and a fascinating perspective on historical events.
However, I was disappointed with the DVD version. The image quality is great, but the DVD differs from the VHS version in some important ways.
First, the DVD version has different subtitles. Some are modified and some are added. If you read all of the newly added (and mostly unnecessary) subtitles, you can't keep up with the video in some scenes. I don't speak German, so I can't say whether the modified subtitles are more accurate, but I feel that some of the translations lost their dramatic edge in this release. The DVD producers also chose to overlap subtitles with the picture, when, at 2.35:1, there's plenty of room below the video for the subtitles.
Secondly, on VHS, the movie's final scene is boosted by Ron Goodwin's beautiful soundtrack. The DVD version drops the Ron Goodwin track and replaces it with a lifeless piece that saps the life out of the final scene. This was a major disappointment.
Lastly, just before the end credits, Winston Churchill's famous quote is replaced with a less notable one.
Overall, it's still a great movie, but the VHS version was nearly perfect. After waiting years for the DVD version, I'm now left hoping there will be a Special Edition version with the VHS subtitles and soundtrack restored.

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Featuring a "big stellar cast" (Variety), including Michael Caine, Trevor Howard, Laurence Olivier, Christopher Plummer, Michael Redgrave, Robert Shaw, Susannah York and Edward Fox, Battle of Britain is a spectacular retelling of a true story that shows courage at its inspiring best. Few defining moments can change the outcome of war. But when the outnumbered Royal Air Force defied insurmountable odds in engaging the German Luftwaffe, it may well have altered the course of history!

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The Man Who Never Was (1956) Review

The Man Who Never Was (1956)
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Although the film was a ostensibly a 20th Century Fox production, THE MAN WHO NEVER WAS was filmed in England using primarily English crew and cast (though American leads). It belongs to a tradition of English war films in which aspects of the war are treated slowly, deliberately, and with great precision. While in the US war films tended to feature John Wayne leading Marines into combat, the British tended to focus much more on the preparation and plans of operations. For instance, the very fine film THE DAM BUSTERS features very little in the way of actual combat. And THE MAN WHO NEVER WAY has no combat whatsoever.
The movie is based on a book by the same name about Operation Mincemeat, in which the British attempted to mislead the Germans about the intended invasion spot for D-Day by planting a corpse with fake papers on a beach in Spain, knowing that the Spanish would pass the papers onto the Germans. The entire movie is involved with the formation of the plan, and then creating the man who never was, creating his papers and personal effects. On one level, not much happens in the film, but on another it is one of the most fascinating films ever made about the war, because of the practical problems they deal with in the executing of the operation. Knowing that it was all based upon real events greatly adds to the appeal of the film.
Clifton Webb, who was in fact far too old for the part, turns in a convincing performance as Lieutenant Commander Montagu. In most of his films he comes across as arrogant, but in this one he instead communicates competence and intelligence. Gloria Grahame is excellent as the primary female presence in the film. If you look carefully, you can spot Stephen Boyd in a small role, a few years before he would portray Messala in BEH-HUR.

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Clifton Webb stars in this fascinating account of a daring intelligence operation designed to mislead the Nazis prior to the 1943 Allied invasion of Sicily.In an effort to convince the Germans to redeploy their defenses, Lt. Commander Montagu (Webb) creates a false English officer and fabricates letters that indicate the British intend to land in Greece.Montagu than plants these documents on a dead man and orchestrates the "discovery" of this "officer" on the coast of Spain, Knowing the papers will fall into German hands.What follows is a taut cat-and mouse game as British Intelligence waits for Berlin to respond, then races to stay one step ahead of the Nazi agent dispatched to determine if the dead man is genuine.This true story of ingenious deception is a riveting tale of wartime espionage.

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