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Sleeping Car to Trieste (1948)

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Ratings: 6.6/10 from 116 users  
Reviews: 6 user | 1 critic

Spies pursue a stolen diary aboard the Orient Express.

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Title: Sleeping Car to Trieste (1948)

Sleeping Car to Trieste (1948) on IMDb 6.6/10

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Cast overview, first billed only:
Jean Kent ...
Albert Lieven ...
Derrick De Marney ...
Paul Dupuis ...
Detective Inspector Jolif
Rona Anderson ...
Joan Maxted
Bonar Colleano ...
Sergeant West
Alastair MacBain
Grégoire Aslan ...
Poirier, the chef (as Coco Aslan)
Alan Wheatley ...
Karl / Charles Poole
Hugh Burden ...
David Hutcheson ...
Claude Larue ...
Leslie Weston ...


Spies steal a diary from an embassy whose contents could ignite a war, then one of them steals it from the others and boards the Orient Express. He ends up involving a couple who were trying to have a clandestine affair on board; other passengers include a police detective, a would-be chef, a pompous author and his lackey, and a bird enthusiast. Written by Anonymous

Plot Summary | Add Synopsis


A Thousand Miles of Thrills, Drama and Excitement!


Thriller | Drama


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Release Date:

30 April 1949 (Sweden)  »

Also Known As:

Sleeping Car to Trieste  »

Company Credits

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Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


First film of Rona Anderson. See more »


When the sergeant and the bird enthusiast are getting acquainted, the background seen through the train window includes two large signs, both mirror-reversed. See more »


Remake of Rome Express (1932) See more »

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User Reviews

A Wonderful Postwar Film
26 July 2005 | by (United States) – See all my reviews

As an American, I am always interested to see how Americans are portrayed in European films, particularly films made prior to WWII and in the years immediately following it.

The American in this film is portrayed as a vulgar contrast to the more sophisticated Europeans on board the train. He is a boozing, whistling, skirt-chasing Italian-American GI with a New York accent. (Why are they always from New York?) He is contrasted with the British passengers in two notable ways: First, his passion for the fairer sex is more overt and he comes across as wolfish in his pursuit of the young women in the film. This is contrasted with the discrete way in which the adulterous British couple on board the train are conducting their affair. When the two young French woman spurn his attempts to have a drinking party with them in their sleeping compartment, one says to him "We no longer wish to be liberated!" or words to that effect. This is a revealing statement about how the American military presence in postwar Europe was wearing thin the patience of Europeans.

Second, the magazines this American GI reads are prominently displayed so as to ensure that the audience can see them. They are the standard popular American mediocrities of the day: Saturday Evening Post, Life Magazine, etc. This is contrasted with the more scholarly (albeit boring) readings of bird-watching Britisher sharing his compartment.

Overall, the American in this film is the stereotypical boorish American so common in European films of this era. His portrayal, however, is not worse than Hollywood's stereotypes of Europeans.

Please note that this is not a criticism, but rather an observation. Americans are not singled out for criticism; the film traffics in several stereotypes (the cheapness of Scotchmen, for example) and does so mainly in a vein of comedic irony. Even the British get their own send-ups in this film.

7 of 9 people found this review helpful.  Was this review helpful to you?

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