Stalag 17 (1953)

User Rating:

8.2/10   

Director:

Billy Wilder

Writers:

Donald Bevan (play) and
Edmund Trzcinski (play) ...

Release Date:

10 August 1953 (Brazil)

Genre:

Comedy | Drama | War

Tagline:

Hilarious, heart-tugging! You'll laugh...you'll cry...you'll cheer William Holden in his great Academy Award role! (from reissue print ad)

Plot:

When two escaping American World War II prisoners are killed, the German POW camp barracks black marketeer, J.J. Sefton, is suspected of being an informer.

Plot Keywords:

Spy | Escape | Pow | Barracks | Guard

Awards:

Won Oscar. Another 4 nominations

Cast

William Holden	...	Sgt. J.J. Sefton
Don Taylor	...	Lt. James Dunbar
Otto Preminger	...	Col. von Scherbach
Robert Strauss	...	Stanislas Kasava
Harvey Lembeck	...	Harry Shapiro
Richard Erdman	...	Sgt. 'Hoffy' Hoffman
Peter Graves	...	Price
Neville Brand	...	Duke
Sig Ruman	...	Sgt. Johann Schulz
Michael Moore	...	Manfredi
Peter Baldwin	...	Johnson
Robinson Stone	...	Joey
Robert Shawley	...	'Blondie' Peterson
William Pierson	...	Marko the Mailman
Gil Stratton	...	Clarence Harvey 'Cookie' Cook (as Gil Stratton Jr.)

Runtime:

120 min | Germany:116 min

Country:

USA

Language:

English | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

West Germany:16 (f) | Australia:G | South Korea:12 (2004) | Finland:K-16 | Norway:12 | UK:PG | USA:Approved (PCA #15866) | Sweden:15

Filming Locations:

John Show Ranch, Woodland Hills, Los Angeles, California, USA

Company:

Paramount Pictures

Trivia:

Cameo: [Edmund Trzcinski]the P.O.W. who receives what is obviously (to everyone but him) a "Dear John" letter.

Goofs:

Anachronisms: The map of Germany in von Scherbach's office would in 1944 include not only Austria and Sudetenland but also Gdansk and the Polish Corridor, large parts of western Poland and the Saarland, all considered ethnically German by the Nazis and incorporated into the Reich.

Quotes:

Price: Are you questioning me?
Sefton: Getting acquainted. I'd like to make one friend in this barracks.
Price: Well, don't bother, Sefton. I don't like you, I never did, and I never will.
Sefton: A lot of people say that, and the first thing you know it, they get married, and live happily ever after.

Movie Connections:

Referenced in "Weird Science: Stalag 16 (#5.10)" (1997)

Soundtrack:

When Johnny Comes Marching Home Again

Quasi-realism and burlesque: a comedic drama

There was surprisingly enough a lot of humor in the American attitude toward the Nazis and the Germans during World War II. Life goes on even under the conditions of being prisoners of war, and people need to laugh. In such circumstances, they especially need to laugh. We can see that in some of the songs from that time and in this play from Donald Bevant and Edmund Trzcinski that Billy Wilder made into an unusually good movie. It should be realized that the full extent of the horror that the Nazis had visited upon Europe was not known until after the war was over and we saw the films of the concentration camps.

William Holden stars as Sgt J.J. Sefton whose amoral cynicism and gift for the cheap hustle allow him to feather his nest even while a prisoner of war. He's the guy who always had a storehouse of cigarettes, booze, silk stockings, candy, etc. under his bunk, the guy who always won at cards, whose proposition bets always gave him the edge. We had a guy like that when I was in the army. We called him "Slick."

But William Holden's Sefton is more than Slick. He is outrageously cynical and uncommonly brave. He takes chances because he doesn't have the same kind of fear that others have. Most people would feel self-conscious (and nervous) eating a fried egg while everybody else in the barracks had watery-thin potato soup. Others might feel uncomfortable with bribing German guards for bottles of Riesling or tins of sardines. Not Sefton. He flaunts his store of goodies.

Perhaps that is overdone. Perhaps the real hardships that prisoners went through are glossed over in this comedic drama--a comedy, incidentally, that plays very much like a Broadway musical without the music. Perhaps it is the case that from the distance of 1953 the deprivations of Stalag 17 have faded from memory and it is the "good times" that are recalled.

At any rate, I think it is this kind of psychology that accounts for the success of this unusual blend of quasi-realism and burlesque. Certainly Stalag 17 has been widely imitated, most familiarly in the TV sit-com "Hogan's Heroes" and to some extent on Rowan and Martin's "Laugh-In." Roberto Benigni's Life Is Beautiful, on the other hand, which also finds humor in the horrific, is of a different genre. Like Ionesco's Rhinoceros, Benigni's movie is from the theater of the absurd, not the Broadway stage.

Holden won an Oscar for his performance and Robert Strauss who played Animal was nominated in a supporting role. Otto Preminger, the legendary director and producer, was excellent as the two-faced Col Von Scherbach, the ex-calvary commander and camp commandant who can only take a phone call from the high command with his boots on so he can click his heels. I also liked Sig Rumann as Sgt Johann Sebastian Schulz ("always making with the jokes, you Americans") whose previous career as a wrestler in the US accounts for his English-language skills. Gil Stratton, who for years did the sports for CBS Channel 2 in Los Angeles, is interesting as Sefton's sidekick and funky. Indeed, what is responsible for the success of this movie as much as anything is this fine cast playing well-defined character roles. By the way, Strauss and Harvey Lembeck ("Sugar Lips" Shapiro) were reprising their roles from Broadway.

Important is the fine plot line in which Sefton is accused of being a spy for the Nazis while the real spy is exposed step by step. At first we don't know who it is, and then we do, and then the prisoners find out.

This should be compared with Sunset Boulevard (1950). While very different movies they have similar elements which reveal part of the psyche and methods of director Billy Wilder. First there is the anti-hero as the protagonist, in both cases played by William Holden. Then there is a lot of the old Hollywood crowd appearing in both films including directors appearing as actors, Erich von Stroheim (not to mention Cecil B. DeMille in his memorable cameo as himself) in Sunset Boulevard, and Otto Preminger here. Sig Rumann has over a 100 credits going back to at least the early thirties. Finally there is the discordant mix of comedic and dramatic elements, a mix that works on our psyches because life is to some very real extent filled with tragedy in close congruence with the laughable.

But see this for William Holden who was the kind of actor who was best playing a compromised character as here and as the failed writer/reluctant gigolo in Sunset Boulevard, an actor who drank too much and tended to undistinguished, but when carefully directed could rise above his intentions and give a sterling performance.