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Stalag 17 (1953)

 -  Comedy | Drama | War  -  10 August 1953 (Brazil)
8.1
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Ratings: 8.1/10 from 39,372 users  
Reviews: 133 user | 72 critic

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.

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Title: Stalag 17 (1953)

Stalag 17 (1953) on IMDb 8.1/10

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Top 250 #243 | Won 1 Oscar. Another 2 wins & 4 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
Don Taylor ...
...
...
Sgt. Stanislaus 'Animal' Kuzawa
...
Sgt. Harry Shapiro
...
...
Sgt. Frank Price
...
Duke
Sig Ruman ...
Michael Moore ...
Sgt. Manfredi
Peter Baldwin ...
Sgt. Johnson
Robinson Stone ...
Joey
Robert Shawley ...
Sgt. 'Blondie' Peterson
William Pierson ...
...
Sgt. Clarence Harvey 'Cookie' Cook (as Gil Stratton Jr.)
Edit

Storyline

It's a dreary Christmas 1944 for the American POWs in Stalag 17. For the men in Barracks 4, all sergeants, have to deal with a grave problem - there seems to be a security leak. The Germans always seem to be forewarned about escapes and in the most recent attempt the two men, Manfredi and Johnson, walked straight into a trap and were killed. For some in Barracks 4, especially the loud-mouthed Duke, the leaker is obvious: J.J. Sefton, a wheeler-dealer who doesn't hesitate to trade with the guards and who has acquired goods and privileges that no other prisoner seems to have. Sefton denies giving the Germans any information and makes it quite clear that he has no intention of ever trying to escape. He plans to ride out the war in what little comfort he can arrange, but it doesn't extend to spying for the Germans. As tensions mount and a mob mentality takes root, it becomes obvious that Sefton will have to find the real snitch if he is to have any peace and avoid the beatings Duke and ... Written by garykmcd

Plot Summary | Plot Synopsis

Plot Keywords:

barracks | escape | spy | guard | security | See All (55) »

Taglines:

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

Genres:

Comedy | Drama | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| |

Release Date:

10 August 1953 (Brazil)  »

Also Known As:

Infierno en la tierra  »

Box Office

Budget:

$1,661,530 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Ross Bagdasarian:  uncredited soldier singing at the Christmas Party. See more »

Goofs

In at least two scenes, German solders are seen using US Browning 30 cal. machine guns; some still think of it as an error, but the use of captured enemy equipment was common by all sides in the war. A POW compound would be the ideal place to locate captured weapons, with a relatively limited ammo supply, while they still served to deter escape. See more »

Quotes

Duke: Come on, Trader Horn, let's hear it. What'd you give the krauts for that egg?
Sefton: 45 cigarettes. Price has gone up.
Duke: They wouldn't be the cigarettes you took us for last night?
Sefton: What was I gonna do with them? I only smoke cigars.
Duke: Niiice guy. The krauts shoot Manfredi and Johnson last night, and today he's out trading with them.
Sefton: Look. This may be my last hot breakfast on account of they're going to take that stove out of here, so would you let me eat it in peace?
Animal: Now ain't that too bad? Tomorrow ...
[...]
See more »

Connections

Referenced in Red Tails (2012) See more »

Soundtracks

When Johnny Comes Marching Home
(1863) (uncredited)
Written by Louis Lambert
Played during the opening credits
Played on a record and sung by the prisoners of war
Whistled a bit by Gil Stratton at the end
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
the perennial 'feel-good' American POW movie
9 April 2008 | by (United States) – See all my reviews

Billy Wilder's Stalag 17 relies on folds of comedy and a cynical attitude to elevate a story that seems out of a crime novel. Here we have a cast of characters, and the undercurrent is 'who's the rat?' in a bunker as the secrets shuffled around (i.e. that there's a tunnel for escape) and the Germans know right away. There's fun in that, and in being able to 2nd guess who the informant really is- at one point I thought the old adage "it's the quiet ones you got to watch" would come forward- but Wilder is brilliant at transforming this as some solid suspense and dramatic tension while ALSO making a really snappy (sometimes) dark comedy. It's a movie about personality, despite the plot being somewhat important, and with the actors themselves delivering a lot for the characters' sakes.

William Holden is the first given attribute as the star, playing the sort who, for a conventional movie-goer audience, seems easy to peg: too full of himself, sneaky, has the motive to be the informant. But as the layers come into focus, he's more than meets the eye, and Holden (against his better instincts, as he didn't want the role originally) fills it in with his subtle swagger and great sarcastic touch carried over from Sunset Blvd. Then there's Otto Premminger, a big surprise as he is mostly known as a director, as the Commandant, taking up and stealing every scene he's in (only Erich von Stroheim in Grand Illusion beats him out as tour-de-force Commandants). Then there's supporting work from the desperate 'clowns' (Robert Strauss's Betty Grable obsessed Animal and Harvey Lembeck's Shapiro), and the cool Don Talyer in a turn as Dunbar. They're all at their best.

While it almost appears to be more entertaining than it perhaps should- considering, as Cookie's opening narration says, movies about the army have been glamorized and this story is different- it's kind of like the Hollywood 50s answer to something like A Man Escaped. Bresson's film is cold and detached and immediate in dramatic impact, while Stalag 17 wants to be a big hit. There's a lot of humor, some unexpected, some that are meant to be big laughs (i.e. Animal and Shapiro's scheme to get into the Russian prison), and they all connect. It's simply a really entertaining movie that has transcended its period, thanks to Wilder's faith in (and more than likely proponent of) an ironic, witty sensibility to otherwise dark and gloomy cinematic terrain.


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