6.5/10
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7 user 1 critic

First Comes Courage (1943)

Approved | | War, Drama | 29 July 1943 (USA)
Nicole Larsen is detested by her countrymen because they suspect she is collaborating with the occupying Germans. In reality she is working for the Norwegian underground, risking her life passing secrets to the resistance fighters.

Director:

Writers:

(novel), (screenplay) | 2 more credits »
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Cast

Cast overview:
...
Nicole Larsen
...
Capt. Allan Lowell
...
Maj. Paul Dichter
Isobel Elsom ...
Rose Lindstrom
Fritz Leiber ...
Dr. Aanrud
...
Soren
Erik Rolf ...
Ole
...
Col. Kurt von Elser
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Storyline

Nicole Larsen is detested by her countrymen because they suspect she is collaborating with the occupying Germans. In reality she is working for the Norwegian underground, risking her life passing secrets to the resistance fighters.

Plot Summary | Add Synopsis

Taglines:

"I married you to destroy you!"

Genres:

War | Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

29 July 1943 (USA)  »

Also Known As:

Crepúsculo Sangrento  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Final film of director Dorothy Arzner. See more »

Soundtracks

Peer Gynt Suite No. 1, Op. 46, 4th Movement (In the Hall of the Mountain King)
(uncredited)
Music by Edvard Grieg
Played on piano at Nicole's apartment
See more »

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User Reviews

 
The Boys Play With Their Toys
18 November 2008 | by (New York City) – See all my reviews

Dorothy Arzner's last directorial effort is replete with her usual feminist slant on things as Merle Oberon -- playing a Norwegian -- is caught between romantic Nazi officer Carl Esmond, who wants to marry her and British spy Brian Aherne who loves her, which is all a great inconvenience to her winning the war for Norway. The men are busy playing with their big tanks and their large meetings -- the state marriage of Esmond and Oberon with its TRIUMPH OF THE WILL sized set decorations is very funny. The occasional battlefield shots looks to me like they are modeled on those sets of plastic soldiers that used to be advertised on the back of comic books.

Oberon, appropriately enough, seems to spend much of her time trying to keep a straight face as Esmond tries to romance her into marriage. It fits neatly into the sort of movie that Arzner used to direct Ruth Chatterton in in the early 1930s, but here, deprived of her favorite screenwriter, Zoe Akins, and forced into the confines of wartime propaganda, she still manages to get in the occasional sly dig.


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