After WW2, in an Austrian camp for displaced persons, an interpreter mediates between the British and the Soviets regarding the fate of various refugees.

Director:

Writers:

(screenplay), (based on "The Interpreter" by)
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Cast

Cast overview, first billed only:
...
Major Burnside
...
Janovic
...
Maria
...
Lieutenant Pilkington
...
Brigadier Bewley
Ori Levy ...
Captain Kamenev
John Collin ...
Sergeant Woody
Karel Stepanek ...
Count Kerassy
Guy Deghy ...
Kovacs
Mark Malicz ...
Komenski
Gertan Klauber ...
Russian Major
Hana Maria Pravda ...
Beata (as Hana-Maria Pravda)
George Innes ...
Bill
Tony Selby ...
Ted
Hugh Futcher ...
Joe
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Storyline

Comedy set in a refugee camp in occupied Austria after World War II. A shrewd multi-lingual interpreter who mediates between Russian and British military brass enters into a friendly rivalry with British Major Giles Burnside, who is in charge of assigning the displaced persons into either the American or Russian zones. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

a rare blend of picture

Genres:

Comedy | Drama | War

Certificate:

M | See all certifications »
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Details

Country:

Language:

Release Date:

8 August 1969 (France)  »

Also Known As:

Quiero ser libre  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Quotes

Lieutenant Pilkington: You mean, you encourage the men here and the - village women? Why, it's disgusting! It's like animals!
Janovic: In the country, it's always like that.
Lieutenant Pilkington: If-if the Major finds out what they're doing on his ban on fraternization, I-I-I don't know...
Janovic: They do not fraternize! No, they do not fraternize! They - just - sleep - together!
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Soundtracks

I'll Make a Man of You
(uncredited)
Music by Herman Finck
Lyrics by Arthur Wimperis
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User Reviews

 
Saw this film when it came out.
23 June 2012 | by (United States) – See all my reviews

When the film was released, Columbia booked it as a 2nd feature. Personally, after trying to sit through it, the studio probably should have shelved it, not necessarily for content, but because that use of flashy zooms became so difficult to sit through that I headed for the lobby more than four times.

In this instance zoom meant zooming in - cut - zoom out - zoom in-cut-zoom out all the way through the film.

The use of zoom lenses in motion pictures was a new tool for filmmakers at the time, but its application here made the film impossible to sit through, at least in a theatre. Until now, thought it had all but disappeared forever.

Not sure if time has changed any of this.


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