The Red Danube (1949)

Shortly after the end of World War II, British Colonel Michael 'Hooky' Nicobar is assigned to a unit in the British Zone of Vienna. His duty is to aid the Soviet authorities to repatriate ... See full summary »

Director:

George Sidney

Writers:

Gina Kaus (screenplay), Arthur Wimperis (screenplay),

Stars:

Walter Pidgeon, Ethel Barrymore, Peter Lawford

Nominated for 1 Oscar.

Cast

Cast overview, first billed only:
Walter Pidgeon	...	Col. Michael S. 'Hooky' Nicobar
Ethel Barrymore	...	Mother Superior ('Mother Auxilia')
Peter Lawford	...	Major John 'Twingo' McPhimister
Angela Lansbury	...	Audrey Quail
Janet Leigh	...	Olga Alexandrova / Maria Buhlen
Louis Calhern	...	Colonel Piniev
Francis L. Sullivan	...	Colonel Humphrey 'Blinker' Omicron
Melville Cooper	...	Private David Moonlight
Robert Coote	...	Brigadier C.M.V. Catlock
Alan Napier	...	The General
Roman Toporow	...	2nd Lt. Maxim Omansky
Kasia Orzazewski	...	Sister Kasmira
Tamara Shayne	...	Helena Nagard
Konstantin Shayne	...	Professor Serge Bruloff
Janine Perreau	...	Mickey Mouse

Storyline

Shortly after the end of World War II, British Colonel Michael 'Hooky' Nicobar is assigned to a unit in the British Zone of Vienna. His duty is to aid the Soviet authorities to repatriate citizens of the Soviet Union, many of whom prefer not to return to their home country. Billeted in the convent run by Mother Auxilia, Nicobar, and his military aides Major John 'Twingo' McPhimister and Audrey Quail, become involved in the plight of a young ballerina who is trying to avoid being returned to Moscow. Nicobar's sense of duty is tested as he sees first hand the plight of the people he is helping return to the Soviet Union; his lack of religious faith is also shaken by his contact with the Mother Superior.

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Plot Keywords:

russian | colonel | convent | ballerina | mother superior | 

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Taglines:

Beautiful Maria...the four lives that touched hers were never the same again!

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Genres:

Drama | Romance | War

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Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

14 October 1949 (USA)

Also Known As:

De rode Donau

Filming Locations:

Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA

Box Office

Budget:

$1,961,000 (estimated)

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM)

Technical Specs

Runtime:

119 min

Sound Mix:

Mono (Western Electric Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

In early 1947, Irene Dunne, Spencer Tracy and Robert Taylor were set to star.

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Quotes

Mother Superior: [Referring to a previous conversation about religion and its inefficacy in Wartime] Like that ladder...
Col. Michael S. 'Hooky' Nicobar: The ladder?
Mother Superior: There is the ladder, there is the ceiling and there is the paint. If you want the ceiling painted, someone must climb the ladder.
Col. Michael S. 'Hooky' Nicobar: Yes, you, um, need a painter.
Mother Superior: But suppose the painter remains at the foot of the ladder? You cannot say that the ladder has failed you, or the paint has failed you, or the ceiling has failed you.
Col. Michael S. 'Hooky' Nicobar: No, no you can't.
Mother Superior: I know about you more than you know ...

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Connections

Featured in Some of the Best: Twenty-Five Years of Motion Picture Leadership (1949)

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Soundtracks

"You've Got to See Mamma Ev'ry Night (or You Can't See Mamma at All)"
(uncredited)
Music by Con Conrad
Lyrics by Billy Rose
Sung by Walter Pidgeon

User Reviews

The director, George Sydney, and his tech crew were geniuses.

I liked this movie very much; it resonated clearly. I grew up during the 2nd WW, and the aftermath was often a mystery; this relates to that time vis-a-vis Russia and her ex-patriots. This is not a formula movie; we care about the main characters and it really reaches to the heart. The points the script made about our choices in life were well made, and the reference to religion was fair. I'm going to use the metaphoric model of the painter, paint, ladder and ceiling in my own work. The actors were wonderful, and the camera work was exceptional at getting to the feelings that shine through the face. The lighting was part of that effect. I knew something was up when I saw the close-ups with artistic lighting, but I didn't know how strongly they would tie to later scenes and evoke emotions. This added to our caring about the sweet innocent Janet Leigh, and the young, idealistic Peter Lawford. I didn't agree with all the philosophy, but it certainly was mostly a tribute to listening to the conscience.