8/10
Some call it art. Others call it a convoluted mess.
16 March 2016
Warning: Spoilers
For me, as a teenager, it was definitely an education that some film structures are not simple, and sometimes, complexity can add an interesting narrative. Having discovered Bogart through war dramas such as "All Through the Night", "Across the Pacific" and of course "Casablanca", I was intrigued by this film which reunited many of the actors featured in those three films. They all have one thing in common, the allies of World War II fighting the enemy in one way or another. This drama does indeed feature several flashbacks within the main and sub narratives, but at least, once you are used to that structure (or have seen it multiple times), it becomes easier to follow.

Bogart is seen in the opening sequences but his character does not really get a story until the fourth flashback within the third flashback. Moving along like this was Merlin's life in reverse, it does take some getting used to. The narrative is provided in a story told by Claude Rains who proves that he does know if the meaning of a beautiful friendship. Bogart is a French war hero who, according to Rains, suffered much indignity at the hands of law keepers in a South American version of Hell's Island. Old Warner pals like Peter Lorre and George Tobias are among his escapees, aided when rescued by Rains but endangered with being turned over to the police by fellow officer Sydney Greenstreet. The plot line deals with the efforts of these pretty unsavory characters to return to France to fight against the Nazis. Even if somewhat amoral, they are all patriotic. That was the purpose of these war propaganda films, some better than others, but some of the best coming out of Warner Brothers.

Michael Curtiz gets an almost perfect gem with four of his "Casablanca" cast members providing outstanding performances. Philip Dorn is almost a replica of Paul Henreid, while Bogart's arrest in Marsaille is almost identical to his separation with Ingrid Bergman in Paris in regards to wife Michele Morgan. The tension is constant, aided by beautiful photography, sharp editing and an excellent musical score. Of course, Warners really had the best sound department in the movies. Greenstreet makes an intriguing villain (aided by Hans Conreid), and Peter Lorre, while rather underused, gets some of the best lines. This isn't a film to have in the background. It is one that requires focus and at just under two hours, it flies by.
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