IMDb > Night Train to Paris (1964)

Night Train to Paris (1964) More at IMDbPro »

Night Train to Paris -- Suspense abounds aboard the boxcars in this trailer for the mystery


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Down 14% in popularity this week. See why on IMDbPro.
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A One-Way Ticket to Danger See more »
Former OSS officer Alan Holiday, now living in London, is visited on New Year's Eve by Catherine Carrel... See more » | Add synopsis »
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What a Silly Film, But Watchable See more (9 total) »


  (in credits order) (complete, awaiting verification)

Leslie Nielsen ... Alan Holiday

Aliza Gur ... Catherine Carrel (as Alizia Gur)
Dorinda Stevens ... Olive Davies

Eric Pohlmann ... Krogh
Edina Ronay ... Julie (as Edina Rona)
André Maranne ... Louis Vernay
Cyril Raymond ... Insp. Fleming
Stanley Morgan ... Plainclothesman
Hugh Latimer ... Jules Lemoine
Jennifer White ... Vernay's Model (as Jenny White)
Jack Melford ... PC inspector
Simon Oates ... Saunders
George Little ... Train porter
John Quayle ... Jackson
Trevor Reid ... Policeman on train
John Busby ... Bearman
Sylvia Lewis Jones ... Christine
Jacques Cey ... Coffier
Neal Arden ... Insp. Escalier
Juliet Hunt ... June
Alexandra Beauclerc ... Anna
Patricia Maynard ... Gail

Directed by
Robert Douglas 
Writing credits
(in alphabetical order)
Harry Spalding  (as Henry Cross)

Produced by
Robert L. Lippert .... producer
Jack Parsons .... producer
Original Music by
Kenny Graham 
Cinematography by
Arthur Lavis 
Film Editing by
Robert Winter 
Art Direction by
George Provis 
Makeup Department
Harold Fletcher .... makeup artist
Joyce James .... hair stylist
Production Management
Clifton Brandon .... production manager
Second Unit Director or Assistant Director
Gordon Gilbert .... assistant director
Art Department
Tony Curtis .... assistant art director (uncredited)
Sound Department
Spencer Reeve .... sound editor
George Stephenson .... sound recordist
Richard Langford .... dubbing crew (uncredited)
Ken Ritchie .... boom operator (uncredited)
Jack Smart .... sound camera operator (uncredited)
Camera and Electrical Department
Len Harris .... camera operator
Laurie Ridley .... still photographer (uncredited)
Costume and Wardrobe Department
Jean Fairlie .... wardrobe
Editorial Department
Clive Smith .... assistant editor
Music Department
Philip Martell .... conductor (as Phillip Martell)
Other crew
Angela Cockill .... production secretary
Renée Glynne .... continuity (as Rene Glynne)
Edna Tromans .... publicity director (uncredited)

Production CompaniesDistributors

Additional Details

Also Known As:
65 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

The last feature of Cyril Raymond.See more »
Continuity: When Alan Holiday busts through the door that connects the two rooms together (while the police are waiting outside), the door that leads to the hallway is closed. In the previous shot, the door was open with the police banging on the door.See more »
Chit ChatSee more »


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11 out of 16 people found the following review useful.
What a Silly Film, But Watchable, 18 November 2008
Author: robert-temple-1 from United Kingdom

Those who thought Leslie Nielsen was born with white hair and a silly expression are wrong. Sceptics will say that it is theologically impossible, but we have here incontrovertible proof in Nielsen's case of Life before Birth. (Of course, connoisseurs will have known all along that he appeared in 1956 in 'Forbidden Planet', with Walter Pidgeon, and even began acting as long ago as 1950, but that is our little secret.) The idea of Leslie Nielsen as a young leading man, as he is here, in an attempt at a spy thriller, seems too incredible. His comic talents are already emerging and he just cannot help himself, he sends up the script time and again. This film is so silly and so kitsch that it epitomises everything that was wrong with Britain in 1964. Whoever imagined for a moment that the Israeli actress Alizia Gur could conceivably be a sensuous female lead? Whatever charms she may have had (and the women in this film mostly thrust forward their busts by way of self-assertion, but it does not work very well), they are well-concealed by the hideous head band and beehive hairdo popular at that time, which were guaranteed to make any woman totally unattractive, and in this case succeeded entirely. Dorinda Stevens comes in rather late in the story and adds a much-needed touch of gravitas, but she seems to have stepped in from a serious film and joined the wrong cast of characters; this was her last feature film, so maybe she got smart. Eric Pohlmann, omnipresent in those days as a heavy, sweats and grunts here as he garottes people, never taking off his hat and trenchcoat. (Honestly, it would be more polite when murdering someone at least to take off your hat!) There is a kind of story, not much of one, but it mostly takes place on a night train to Paris (good shots of how the coaches were transferred to the ferry to Dunquerque at Dover), and there is a rather wrinkled packet containing a computer tape which gets passed around rather at random, looking increasingly as if the prop department had no budget at all. Somehow governments will rise or fall if this tape does not get to Paris, but no one seems really to believe that, and although people get killed, it is clear that they are risking their lives not for la Gloire but for the box office. At this time, films could still be made in black and white without being guaranteed box office failure as long as there were some murders. How long ago this all seems: the streets of London are empty, the train platforms are empty, there was nobody there, no waves of immigrants, no over-population, and 'fun' was simply bopping up and down with confetti in a train carriage for New Year's Eve, with alcohol being the strongest thing to take. Oh yes, Edina Ronay is in the film, very pouty lips, luxuriant hair, good figure, exuding sex appeal and a cheeky personality. Well, there are worse ways to while away a rainy afternoon. as long as your teeth are tightly clenched and you brace yourself to endure 1964 again (or for those who did not endure it, experience it for the first time in all its incredible banality).

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