WWII is entering its last phase: Germany is in ruins, but does not yield. The US army lacks crucial knowledge about the German units operating on the opposite side of the Rhine, and decides to send two German prisoners to gather information. The scheme is risky: the Gestapo retains a terribly efficient network to identify and capture spies and deserters. Moreover, it is not clear that "Tiger", who does not mind any dirty work as long as the price is right, and war-weary "Happy", who might be easily betrayed by his feelings, are dependable agents. After Tiger and another American agent are successfully infiltrated, Happy is parachuted in Bavaria. His duty: find out the whereabouts of a powerful German armored unit moving towards the western front. Written by
Eduardo Casais <email@example.com>
One of the first films after World War II to portray the German people - outside of the Nazi regime - in a sympathetic light. See more »
Before Karl (AKA Happy) parachutes back into Germany, the US crewman in the aircraft says that he is glad "every time that a string of hundred pounders leave that bomb rack". The aircraft that they are in is a C47, a cargo plane, and did not have bomb racks. See more »
Of all the questions left unanswered by the last war, and probably any war, one comes back constantly to my mind. Why does a spy risk his life. For what possible reason, If the spy wins, he's ignored. If he loses, he's shot.
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Occasionally I rate a film high for personal and sentimental reasons. In this case I am compelled by objective facts to add in the light of greater perspective that I consider this one of the best war movies of all time.
In the first place, the acting is superb. The casting is flawless. The direction is taut, as is the editing. It is filmed in black and white, as it would have to be even today if someone wanted to try a remake. The locations and sets are authentic to a "T." The story itself follows faithfully the text of a book I read as a child (before I saw the film, in fact).
Moreover, I consider it an act of bravery on the part of the film's producers even to begin a project like this so soon after the end of World War II, when passions against the Germans were still running high and mere caricatures of that nation's common people remained the standard for the day (and for years to come).
Oskar Werner in the main role was a brilliant choice, and veterans Richard Basehart and Gary Merrill provide ample evidence that casting proceeded on a basis of resolute excellence and authenticity. I am still blown away by revisiting the "Romantic Road" in Germany and thinking how this movie defined and continued to define for me how recent and ancient history converged along that path.
I cannot praise it enough.
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