A 'Land Girl', an American GI, and a British soldier find themselves together in a small Kent town on the road to Canterbury. The town is being plagued by a mysterious "glue-man", who pours... See full summary »
Joan Webster is an ambitious and stubborn middle-class English woman determined to move forward since her childhood. She meets her father in a fancy restaurant to tell him that she will ... See full summary »
Wing-commander Tim Mason leads a squadron of Lancaster bombers on almost nightly raids from England. Having flown eighty-seven missions he will shortly be retiring from flying, but the ... See full summary »
A small British army team is sent to destroy a German petrol dump as part of the preparation for a major attack in the North African campaign. Whilst they are there they spot a large number... See full summary »
After opening a convent in the Himalayas, five nuns encounter conflict and tension - both with the natives and also within their own group - as they attempt to adapt to their remote, exotic surroundings.
Nino Culotta is an Italian immigrant who arrived in Australia with the promise of a job as a journalist on his cousin's magazine, only to find that when he gets there the magazine's folded,... See full summary »
In the fall of 1939, the German heavy cruiser (referred to as a pocket battleship) Graf Spee seems to have command of the Atlantic. In the first three months of World War II, she was responsible for sinking 9 ships. The British sent three cruisers commanded by Commodore Henry Harwood to confront her. The battle took place on December 13, 1939 and the British came out on top. The Graf Spee headed for the neutral harbor of Montevideo, Uruguay. They were given only a short time to effect repairs and the British did their best to make them believe a British fleet of 6 or 8 ships awaited them. Rather than chance the loss of his men, the German captain ordered the Graf Spee scuttled. Written by
When Captain Dove is first brought aboard the Graf Spee, the anti-aircraft gunners are wearing US-pattern steel helmets, not the German "coal-scuttle" design. This is noticeable in various other scenes as well, and is due to the fact that the Graf Spee is being played by the USS Salem. See more »
At the beginning of the film, we see this acknowledgement: There are hundreds of invisible people behind every film. Behind this one there are thousands. We would like to thank them collectively, for if we named them all there would be no room for the film. Then as the opening credits roll, an extensive list of acknowledgements (mostly naval officers) is shown in the background. See more »
Not withstanding the negative comments of some critics, this is another great Powell/Pressburger film. Perhaps what prevents it from getting its due is that it looks like another entry in the "big WW II battle recreation" genre, but the structure, the performances, and the film's intent in general aren't really in the service of that genre. The climactic battle is fought in the middle of the film, and the last third unexpectedly takes place on the docks and in the cafes and embassies of Montevideo, with a festival air and comedy relief. Powell rightly feels that the core of the film is Bernard Lee's admiration of his captor; indeed, the final scene is the expression of that admiration. Yet the viewer isn't "pointed" to that relationship. All the expository dialogue serves the battle scenes--where the Spee might be, how to attack it, the relationship between the British Commodore and his Captains--and later, the strategies of the Spee's leaving port. Particularly in the latter part, there's a lot of discussion which doesn't relate to the film's denouement. And the collection of British prisoners on the Spee don't coalesce into an ensemble. In an odd way, their fate never seems integrated into the battle, nor does it particularly highlight the relationship between Lee and Finch. This unusual structure is in part due to the film apparently following actual events fairly closely, and actual events don't follow conventional dramatic structure. But, really, that absence of conventional structure, and the refusal to emphasize the Lee-Finch relationship or to make it a dominant theme, are the film's greatest strengths. Finally, note should be taken of the superb photography in VistaVision.
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