Blockade (1938) Poster

(1938)

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5/10
The Spanish Proletariat Rises
bkoganbing7 June 2010
Although Blockade managed to get two Academy Award nominations for Best Music Score and Best Original Screenplay, time has not dealt well with the film. For Whom The Bells Toll is a great Hemingway novel and great film made from that novel and it is a far better interpretation of the Spanish Civil War.

Which was still going on when Blockade was made by Walter Wanger in 1938 and released by United Artists. Wanger had under personal contract at the time Henry Fonda whom he had brought to Hollywood to recreate his Broadway starring role in The Farmer Takes A Wife. After that during the Thirties he mostly rented Fonda's services out to the studios until Fonda signed a contract with 20th Century Fox to get to play Tom Joad in The Grapes Of Wrath.

One of the big problems is the casting of Henry Fonda as a Spanish peasant who joins the Republican Army and is the voice of the Spanish proletariat on screen. Fonda is just way too American in his speech to ever be convincing as anything else. As the voice of an American worker, Tom Joad in The Grapes Of Wrath, Fonda was perfect. As a Spaniard he just doesn't cut it. But he was certainly a bigger box office than the guy who should have played the part, Gilbert Roland.

While still just a peasant working his fields before war comes, Fonda meets up with Madeleine Carroll who is a Russian expatriate traveling through Spain to meet her father Vladimir Sokoloff and another family friend John Halliday. She doesn't know it, but the two of them are spies. And she gets roped into their espionage game as well.

The story of the Spanish Civil War is a complex one, but one of the failures of Blockade is that we never get any kind of background. Roughly speaking the bulk of the military staged a coup against the Republic of Spain and in the end which came in 1939, Francisco Franco emerged as a fascist dictator of Spain out of all the generals in revolt. But none of that is explained here in Blockade. All we know is that it's an amorphous 'them' out there making it tough on the peasants who are in fact supporting the constitutional and elected Republic of Spain.

Although the wholesale bombing of civilians had first been done in Ethiopia by the Italians, civilian bombing targets were first done in Europe in the Spanish Civil War. It was new and frightening and widely covered in the domestic and foreign press. The story of Blockade centers around a coastal town in which a relief ship cannot get through. The port may have to be surrendered and with it the whole province. It's what the Nationalists are working for and the Republicans like Fonda trying to prevent, though the names Nationalist and Republican are never used.

John Howard Lawson wrote the original script that got the Academy nod and he was one of the later Hollywood Ten and one who in fact made no bones about his Marxist sympathies. But this film has been so drained of politics that it's almost antiseptic.

I'd say Blockade is one for fans of the leads and an interesting if mediocre way showing how Hollywood handled a burning issue of the time.
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5/10
Shallow and Corny Melodrama
claudio_carvalho6 December 2011
In the spring of 1936 in Castelmare, the peasants Marco (Henry Fonda) and Luis (Leo Carrillo) help the aristocratic Russian Norma (Madeleine Carroll) that had a car accident while driving to the house of her father Basil (Vladimir Sokoloff) and Marco falls in love with Norma.

Sooner the Spanish Civil War begins and Marco leads a group of peasants to defend Castelmare and he is assigned lieutenant of the rebels' army. Meanwhile, Basil and Norma are forced to spy for Andre Gallinet (John Halliday). Marco suspects of Basil and follows him to his room. When Basil reacts, Marco kills him in a shooting.

Meanwhile, Castelmare is under siege and without supplies, and Norma escapes from Marco. But she is blackmailed by Gallibet and forced to return to Castelmare with information about the ship that is bringing supplies for the population.

"Blockade" is a shallow and corny melodrama during the Spanish Civil War (17 July 1936 to 01 April 1939). The dull romance between Marco and Norma has no chemistry and the author uses a historical event that is happening in 1938 in a neutral position and no references. The final speech of Henry Fonda's character is one of the awfullest conclusions that I have ever seen in a classic. My vote is five.

Title (Brazil): "Bloqueio" ("Blockade")
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6/10
Battle , drama , espionage and romance set against the background of Spanish Civil War
ma-cortes27 August 2012
¨Blockade¨ is a passable film unmistakeably set against the background of Spanish Civil War (1936-1939) directed by William Dieterle , the original title of this film was "The River is Blue" and the first director was Lewis Milestone . The title was changed to "Castles in Spain," then to "Blockade" . It deals with two simple sheperd named Marco (Henry Fonda) and Luis (Leo Carrillo) who are forced to take up arms to defend his land during the Spanish Civil War . Along the way Marco falls in love with Russian aristocrat called Norma (Madeleine Carroll) whose father named Basil (Vladimir Sokoloff) is involved in espionage . Later on , Norma is also obligated to spy for Andre Gallinet (John Halliday) . There takes place a blockade about the small location named Castelmare with posters explaining : ¨Warning . Do not discuss military matters with strangers . Beware spies ¨.

The story doesn't take sides and was prohibited in some American cities in USA day since . Of course , it was also banned in Spain . The tale does not attempt to favor any cause in the present conflict. Care has been taken to prevent any costume of the production from being accurately that of either side in the Spanish civil war . The film was nominated Best Music, Original Score composed by Werner Janssen . Kurt Weill even wrote music for the original project that was never used. The movie can be seen nowadays as a War/romance/drama with some exciting images , well organized crowd and thrilling scenes . The topic of the Spanish Civil War was politically sensitive and there is some hint that the upheavals of the original project were due to the political content of the film. Much of the dialogue for the movie was supplied by the black-listed John Howard Lawson who was nominated ACademy Award for Best Writing, Original Story and novelist James M Cain (though uncredited and famous author of ¨The postman always rings twice¨) wrote interesting dialogs . The picture was professionally directed by William Dieterle but this film Blockade(1938) was too libertarian to keep him completely from the shadow of suspicion as a socialist sympathizer.

This German director had great artistic style and worked with much energy in providing some of Hollywood's and the world's crown jewels of cinematic art. He immigrated to the US and was in Hollywood by 1930s with the offer of directing for Warner Bros. and began directing their series of German-language versions of released films, including: Those Who Dance (1930), The Way of All Men (1930) and subsequently directing dramas (Scarlet down , Fog over Frisco , Fashions), costumer (Kismet,Omar Khayyan) and biopics (Life of Emile Zola , Dr Ehrlich , Juarez , Madame Curie , Reuter) that were a revelation at the box-office. Dieterle some of Warner's American output (his first, The Last Flight (1931), is now regarded as a masterwork) which would ramp up to his being at the helm of six pictures a year through 1934. After that , he directed an extravaganza ,William Shakespeare's "A Midsummers Night's Dream" . Dieterle would direct Paul Muni for Warner's in three first-rate Bio movies: The Story of Louis Pasteur (1936), The Life of Emile Zola (1937), and Juarez (1939) Oscar nominations in all of them. After that , Dieterle moved on to do The hunchback of Notre Dame (1939) at RKO with Charles Laughton as Quasimodo that was one of Dieterle's best efforts . Through the 1940s, Dieterle moved around among the studios executing always vigorously wrought film work, such as, two 1940 Bios with Edward G. Robinson at Warner's. He became associated with independent producer David O. Selznick and actor Joseph Cotten first with his direction of I'll be seeing you (1944). Rating 'Blockade' : 6 , acceptable and passable . Worthwhile watching .
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Secret Stalinism
Oct2 September 2004
John Howard Lawson joined the CPUSA in 1934 and announced that he would try to "present the Communist position" in his scripts. On the face of it, he didn't get far in "Blockade", a notoriously timid Spanish Civil War pic released while it was still being fought. Publicity promised that "the story does not attempt to favour any cause"; even the uniforms were ambiguous.

The factions are referred to only as "Them" (invaders) and "Us" (invaded). The casus belli is no more than Their attempt to purloin Our land, a valley near Granada. What ensues is personalised, studio-bound melodrama. Heroic amateur soldier Henry Fonda stiffens his fellow peasants' backs to resist the grab. He woos blonde White Russian adventuress Madeleine Carroll and finally demands foreign intervention in a Chaplinesque harangue to camera: "Where's the conscience of the world?"

It all savours of Hays Office intervention and the anxiety of Lawson's "progressive" producer, Walter Wanger, not to provoke the US public by charging them for a liberal sermon. But "Blockade" may be subtler agitprop than it seems.

By 1938 anybody who read a paper or watched "The March of Time" would infer that Fonda stands for the Republic fending off General Franco's Nazi- and Fascist-backed Nationalists-- not the other way round. And Lawson's emphasis on small farmers guarding their ancestral acreage is just what Stalin ordered. In reality the country round Granada was a hotbed of anarchist schemes for collectivising agriculture, but the Communist line was that the Republic's left-front government, including democratic socialists and liberals, must be sustained till the rebel generals were routed. Only then could land reform be considered; reform under the aegis of a Communist-dominated regime subservient to Moscow, which would nationalise the land, not parcel it out to dubious anarchic types.

Moreover, Lawson must have relished making Carroll's character an exiled daughter of Russia with a crooked anti-Red father, who sees the light in Fonda's arms.

We laugh at movies such as this and "Last Train from Madrid" for their superficial, sentimental view of a burning issue. But what right has today's supposedly more liberated Hollwood to laugh? Where were Vietnam films during the conflict, apart from John Wayne's "Green Berets"? How many Gulf War or Enduring Freedom stories have we seen? How many portrayals of radical Islam, pro or anti? Hollywood is more gutlessly evasive than ever during our dangerous times. Well, export markets provide more of its profit margin than 60 years ago...
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6/10
Good Guys and Bad Guys
JamesHitchcock12 November 2010
The late and unlamented Senator Joseph McCarthy was wrong about many things, but one thing he got right was the extent of Communist penetration of the American movie industry during the thirties and forties; despite the fact that the Communist Party of the USA had virtually no popular support a remarkable number of Hollywood screenwriters and directors had links to the Party. What McCarthy got wrong was the idea that these individuals posed any real threat to American democracy. The combined efforts of all these Marxist intellectuals did not result in any rise in support for the Party (its best performance in a Presidential election was 0.3% of the vote in 1932). Indeed, they did not even succeed in getting any films made which could be regarded as furthering the Communist cause, other than a few wartime propaganda films like "North Star" which were made-with the blessing of the American authorities- to highlight the Soviet war effort.

"Blockade" is a case in point. The script was written by John Howard Lawson, one of the most hard-line Communists working in Hollywood, about the Spanish Civil War, a cause dear to the heart of every leftist. And yet its script is so confused that it is impossible to tell whether its politics are pro-Republican or pro-Nationalist.

Marco, a small farmer living somewhere near the Mediterranean coast of Spain, takes up arms to defend his land against the Bad Guys, and then becomes part of the Good Guys' army. He takes part in the defence of Castelmare, a port city held by the Good Guys but being blockaded by the Bad Guys who are hoping to starve it into surrender. The plot revolves around the attempts of the Good Guys to send a ship through the blockade to bring food to the starving citizens, and the attempts of the Bad Guys and their spies within the city to frustrate this plan by sinking the ship.

No doubt if Lawson had had his way he would have written a script which made it quite clear that the Good Guys were to be identified with the Republicans, but the studio- who doubtless felt that actually making a film about the conflict was quite brave enough- were determined that they should not be seen as favouring one side against the other, and the script was therefore neutered so as to ensure that the question of who the Good Guys and the Bad Guys actually were remained obscure. The film makes no reference to the International Brigades or to foreign intervention in the war, and all personal names and place names are fictitious. (The name "Castelmare" is actually Italian rather than Spanish, as is "Montefiore", another place mentioned in the film. The hero's name in Spanish would normally be "Marcos" rather than "Marco", and there are also characters with the Italian-sounding names "Pietro" and "Seppo". Lawson seems to have got confused about the differences between Spanish and Italian).

There are some factors which do indeed suggest that the Good Guys are intended to be identified with the Republicans, in particular the fact that the Bad Guys carry out air raids against civilian targets, a typically Nationalist tactic. Some have also pointed to the fact that the chief Bad Guy spies, a young woman named Norma and her father, are of Russian origin, although it should be mentioned that not all Russian émigrés at this period were Tsarists or even right-wingers; there were plenty of Russian liberals, social democrats, anarchists and Trotskyites in exile from Stalin's regime. (Norma later has a change of heart when she sees the suffering the blockade is causing, switches to the Good Guy side and becomes Marco's love-interest).

Other factors, however, suggest that the Good Guys are intended to be identified with the Nationalists, and not only the design of their uniforms which another reviewer mentioned. Marco mentions that the Bad Guys are targeting churches for destruction, just as the anarchists and communists did in the regions of Spain under their control. His taking up arms in defence of his land recalls the fact that the leftist programme of collectivising land forced many small farmers, who otherwise would have had little sympathy with Fascism, to support the Nationalist cause, fearing that in the event of a Republican victory they would share the fate of the Russian kulaks.

Yet despite its political incoherence the film has some good points. Indeed, it is perhaps the film's refusal to take sides that makes it still watchable more than seventy years on, certainly more watchable than a mere Francoist or anti-Francoist propaganda tract would be. Certainly, it is dated, something shown in those scenes which supposedly take place outdoors but which were in fact shot in a studio in front of very unconvincing-looking backcloths. Although it ends with a rousing peroration from Marco in which he calls for outside intervention in the war, its main interest today is as an anti-war drama, a film which shows us the human cost of war, a cost which remains the same whether the war is being waged by Good Guys or Bad Guys. 6/10
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6/10
Right-on Left-wing Polemic
Lejink18 March 2023
I live in Spain now and have nurtured an interest in twentieth century Spanish history, in particular the Spanish Civil War and the rise of the dictator Franco. I was completely unaware of this vintage Hollywood feature made while the war was still raging, starring an emergent Henry Fonda and the already established Madeleine Carroll.

The screenplay, as if you couldn't guess, is by one of the blacklisted Hollywood Ten, John Howard Lawson, who wrote a number of left-leaning works for both the theatre and cinema at this time and I must admit I was surprised to learn that this one was nominated for an Academy Award this particular year.

The story is both simple and contrived. A lowly, young Spanish farmer, Fonda, with his oafish chum encounters Carroll after she crashes her car at breakneck speed on the road where they're walking their cattle. Just as you wouldn't guess Fonda was a native Spaniard from his accent, Carroll we later learn despite her cut-glass English accent is actually a Russian whose father, we learn is aiding the fascist Nationalist forces, presumably at the behest of Stalin.

Then, of a sudden, the Spanish Civil War kicks off with Fonda's character seemingly unaware that it was even in the wind. Sure enough, he enlists on the underdog Republican side, although these descriptive terms are never used in the film and when he discovers Carroll's father's treachery to his country, shoots him dead. You might think that this would be enough to turn her forever against him but you'd be wrong, although initially she of course has to see the error of her ways, even if she seems to have betrayed the starving native Spaniards by passing on intelligence which enables the oppressors to sink each relief ship, bringing in essential food and supplies, attempting to break the imposed blockade.

It sort of all ends up all right in the end thanks to a cunning piece of duplicity by the resistance with Fonda and Carroll now firmly committed to fighting for their poor countrymen, women and children with the last word going to Fonda making a rallying call directly to the viewer for other countries to help his beleaguered nation as they will surely be next to be threatened by the rise of fascism in the west.

I'm all for the political motivations behind the movie which must have taken some bravery for the cast and crew to produce but really it's very heavy-handed in its writing, seems to be directed in a very-slapdash fashion by William Dieterle and is acted over-earnestly by Carroll and in particular Fonda.

I kind of wished the production had instead made the trip to Spain to film at first-hand in documentary fashion the horrors of this terrible war, but lame and stilted as this movie was, its heart at least was in the right place so I'll forgive some of its all too apparent flaws and give it a tacit nod of approval.
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5/10
ambiguous drama and a miscast Henry Fonda
blanche-28 February 2016
Henry Fonda was roped into this -- he had a higher box office rating than the perfect actor for it, Gilbert Roland. There aren't many roles both of these men could play, and this wasn't one of them.

The story concerns the Spanish Civil War.

The script was written by an avowed Communist, John Howard Lawson who wanted to "present the Communist position" in his scripts. He doesn't really get to do that in Blockade, since it's deliberately ambiguous as to the different factions, referred to as "they" and "us." The costuming also doesn't suggest anything as far as sides.

The story concerns a place called Castelmare, where Marco and Luis (Fonda and Leo Carrillo) help a Russian woman, Norma (Madeleine Carroll) who has had a car accident on the way to her father's. For Marco, it's love at first sight.

When war begins, Marco is the head of a group of peasant attempting to defend Castelmare. Meanwhile, Norma and her father are forced to spy for the other side. Marco winds up killing Norma's father.

Castelmare cannot get any supplies, and Norma is being blackmailed to give information about the ship so that it can be sunk.

Probably the most striking thing are the closeups of the suffering peasants.

Casablanca it isn't. Fonda and Carroll have no chemistry. The dialogue is very stilted.

Henry Fonda at the end gives an impassioned speech right into the camera. It's embarrassing.
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5/10
This film takes a real risk,...well,...sort of,...
planktonrules29 October 2006
Warning: Spoilers
This film is one of the very few Hollywood-style films made about the Spanish Civil War while it was still raging. A few films talked about it or had characters who supposedly fought in it, but were made DURING WWII when it was fashionable to say that you were against the Nazi-backed government of Franco. So since this film did take a stand, it does deserve some mention,....but only a small mention. That is because although the film was set in the midst of the revolution, the film sheds absolutely no light on who was fighting or even why. You would have had no idea that the Soviets or Nazis were actively supporting the Republicans as well as the Nationalists. And, very, very oddly, you are left to guess which side Henry Fonda is on, as this is never alluded to. Also, oddly, the uniforms of his side (which seems to be the Soviet-backed Republicans) look more like uniforms of Franco's Nationalists! All we REALLY know is that Fonda and his "side" is good and the other side is evil--talk about simplistic! Madeleine Carroll plays a very muddled role as a woman who ultimately works for BOTH sides. Fonda, oddly, gets a serious case of the "love at first sights" for Carroll--even though through most of the film she appears to be a spy for the other side! Talk about a lousy commitment to your ideals and an unconvincing "love story".

The film ultimately gets a 5 because it is not a horrid film. It is mildly entertaining and takes SOME risk, though it is also very, very muddled and full of clichés as well. My advice is DON'T watch this film--read a history book about this war instead!
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5/10
Propaganda That Fails To Propagandize
kiroman1011 March 2006
To paraphrase the late great Father Coughlin's jibe at the Roosevelt government's provision of "relief that failed to relieve", this inept film on the Spanish Civil War provided propaganda that failed to propagandize. That, at least to this viewer, is the only thought that lingered after suffering through almost 90 minutes of Blockade. I say this with a great deal of reluctance because I have always considered myself a great fan of both the principals of this film, Madeleine Carroll and Henry Fonda, but, alas, not even these two cinematic greats could salvage this bummer. In my quest to apportion blame I suppose the the script writer, a certain John Henry Lawson, is as good a place as any to start. The clunky lines he puts in the mouth of Fonda, a peasant hero of the so-called "republican" cause--particularly his closing monologue--are grounds for confinement in the most austere of labor camps courtesy of his obvious favorite, Comrade Joseph Stalin. I was especially struck by the tepidity of the romantic interludes with the beautiful Carroll, suggesting that a proletarian partisan like Mr. Lawson has little feeling for the more sublime side of human emotions. All of this I could excuse if Blockade offered anything approaching effective political propaganda if that was what it offered; but, at the risk of being tedious, that was precisely where it failed the most.

For political propaganda that both entertains and persuades, let me suggest Casablanca. For political propaganda that offers only a few glimpses of the radiant Madeleine Carroll and nothing more, I recommend Blockade. That, unfortunately, is not enough to salvage this less than scintillating 1930s leftist pap.
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8/10
Engaging Drama of Spanish Civil War
vitaleralphlouis21 November 2009
Warning: Spoilers
Most other reviewers focused on the politics of the film regarding the Spanish Civil War. Not necessary. There's no way to tell which side Henry Fonda is on, or which side the Bad Guys represent. It's strictly about (a) two farmers and (b) one village, all find themselves entangled with an invasion of powerful forces suddenly intruding on their lands and their lives. It's a struggle against a strange enemy trying to kill you and your friends, to starve and destroy your village with corruption and self-interest. Politically, it reminds the viewer of the current day struggle of OUR country being taken over and being destroyed by an administration of thugs, thieves and other evil-doers.

The movie has the look and feel of the great foreign movies of the era; the sets, the lighting, the casting -- couldn't be better. Although filmed in Los Angeles, it'll take you to rural Spain of 80 years ago. Hollywood doesn't make good movies like this anymore, the talent is gone, the cocaine takes over. Skip the action garbage, rent this from Netflix.
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1/10
My choice for the worst big-budget movie ever made!
JohnHowardReid14 August 2017
Warning: Spoilers
Producer: Walter Wanger. Released through United Artists. Copyright 7 June 1938 by Walter Wanger Productions, Inc. New York opening at the Radio City Music Hall: 16 June 1938 (ran one week). U.S. release: 17 June 1938. Australian release: 15 September 1938. 9 reels. 84 minutes.

SYNOPSIS: A Loyalist peasant (Fonda), aided by a Fascist spy (Carroll) whom he has converted to the Loyalist cause, raise the blockade of Barcelona.

NOTES: Classified "C" for "Condemned" by the Legion of Decency, "Blockade" is a famous (or infamous) film that brought little credit on those who supported it (Democrats, Socialists, Communists and assorted left-wingers) and none at all to those who so vehemently opposed it (Catholics, Masons, Episcopalians, McCarthyites, Birchists, Ku Klux Klansmen, Republicans and other right-of-center and far-right organizations). Lawson was later blacklisted by the witch-hunting HUAC. Oddly enough, producer Walter Wanger managed to survive the post-war "anti-American" hysteria, but director Dieterle found himself on what he called "the gray list". As a result, his work opportunities were severely limited.

Negative cost: $692,086. Initial world-wide rentals gross: $718,693. As only a 50% share of the gross at most was returned to Wanger, he ended up with a massive loss.

COMMENT: Despite the pretensions of its scriptwriter, this romantic drama, set during the Spanish Civil War, is largely comic-book stuff. Clean-cut Henry Fonda, gazing moodily at Miss Carroll whilst quoting romantic poetry, — or stirring up refugees to resist the enemy, — is about as unconvincing a Spanish peasant as you can get. At least Fonda and all the other players — with two notable exceptions — spare us any attempts whatever at Spanish accents.

The first of the exceptions of course is Leo Carrillo. He is obviously along mostly for comic relief, though he does have some "serious" bits, all of which he plays in an obnoxiously broad and hammy manner.

Our second Spanish harmonizer is Vladimir Sokoloff (ingeniously introduced in one of the film's rare touches of directorial invention by tracking shots of his white-spatted feet) who provides the movie's one really convincing performance. His reluctant spy easily creams the rest of the cast. Unfortunately, his role is all too small, his death leading to Miss Carroll's delightfully trite encounter with Fonda: "You killed him. You!" — "I'm sorry, miss. I didn't know he was your father."

The absurdity and unintentional ludicrousness of Miss Carroll's scenes with Fonda, allied with their pretentiously banal dialogue ("Never to see the sun again!"), plus the melodramatic contrivances of the plot twists that inexorably manage to bring these two stars constantly together, rank among the worst ever perpetrated in an "A" picture. How our Madeleine can keep a straight face through her "I never had a country" lines, rates as a minor miracle of histrionic self-control.

As if one clown in the plot were not enough, the script later introduces Reginald Denny as a stage Englishman, whose function is mainly to feed lines to Carrillo. They indulge in a purgative, totally unfunny conversation about tinned corn beef.

The pseudo-Spanish music score has to be heard to be believed. Heavily underlining every scene, it reaches a climax of movie bathos in the episode with Fonda leading the peasants to resist behind sandbanks, whilst a stirring off-camera chorus urges, "Fight for the Right!"

Complete with obviously phony backdrops, the sets take pride of place as some of the most obvious fakes ever to come out of Hollywood. "Blockade" was most certainly filmed entirely on a studio sound- stage.
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A rather flat film that is afraid to challenge or take sides, with a romance that doesn't really engage
bob the moo23 August 2004
Marco is a simple Spanish farmer who is forced to stand up and be counted when he takes up arms to protect his country during the civil war. When his heroics and bravery sees him promoted up the ranks, Marco finds things complicated when he starts to fall in love with a woman who's father turns out to be a Russian spy. The couple try to deal with their feelings while they find themselves on opposite sides of the war.

Boasting the tagline 'the most important film of 1938' and having been awarded Oscars at the time of its release, I decided to watch this film and see what the fuss was about. What I found was a film that is too self-consciously cautious to be great fun, too worthy to be involving and ends up being rather dull and uninteresting. The basic plot is set around the Spanish civil war but it appears to have been careful about coming down on either side of the argument and therefore is so balanced that it almost cancels out any content that may have been challenging or informative. This leaves a story about personalities and the central romance, which is a problem because the film doesn't deal with these very well either. The romance tries to be bleak and supposedly doomed but it just can't get the tone right and it never really gets anywhere near as emotive as it needed to be – certainly this is no Casablanca.

With the script problems and rather drab direction, the film only occasionally gets close to being really impacting and involving and it was only the moments where the horrors of the conflict are allowed to get above political neutrality that the film comes to life – but these are too infrequent. The cast are set adrift and do the best they can to squeeze emotion and drama out of the script but their efforts just seem out of place against a rather flat backdrop. Fonda is always watchable even if his 'good honest man' is a rather dull character and, for that reason, hard to get behind; certainly modern audiences may find his unquestioning patriotism and simple morals hard to swallow. Carroll is better than the film deserves, her performance is very good and it is just a shame that the rest of the film doesn't come up to her level of work. Support is OK but the script doesn't fill the film that well and most of the cast are given little to do.

Overall this may well have been the 'most important film of 1938' but it doesn't do a great deal today. The film doesn't inform and isn't interesting as it carefully treads the complexities of the conflict – and Fonda's final to-camera rant about peace is too little, too late and just comes across as being rather pat. The romance could have saved it but this too is fluffed despite the best efforts of Carroll, but Fonda, despite being worth a look, plays it all to simplistically in line with the material.
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2/10
"WHERE'S THE CONSCIENCE OF THE WORLD?!?"
CatRufus559128 March 2021
Where indeed, Henry, where. Flat melodrama starring a miscast Henry Fonda tries to make a statement about the Spanish Civil War but falls short of its goal.

I must say I'm impressed with some of the well-researched, beautifully written reviews on Imdb about this film. Why do the worst movies have some of the most detailed reviews? Maybe the reviewers feel the need to dissect bad films in an effort to determine what went wrong during production. How a movie with a good cast could be so bad.

But I digress. If, in 2021, the Spanish Civil War is on your 'top ten' list of Things That Matter, you might enjoy this movie. Maybe even find a copy of the original movie poster and have it framed for $250.00 and hang it in your formal dining room. Whatever. Have your tea and granola bar and go back to bed. Cheers.
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4/10
Henry Fonda stars in this Oscar nominated Original Story
jacobs-greenwood15 December 2016
Warning: Spoilers
Directed by William Dieterle, and written by John Howard Lawson, this below average war drama attempts to evoke sympathy for the struggles of peasants during the Spanish Civil War. Henry Fonda plays a simple farmer named Marco who becomes a leader in the resistance against the invaders who would take their land and livelihood. Leo Carrillo plays his sheepherder friend Luis and Madeline Carroll plays a Russian foreigner he meets, and is smitten by, just before the war breaks out. John Halliday and Vladimir Sokoloff play spies who infiltrate the resistance for profit and Reginald Denny a journalist who writes about the peasants' struggle. Robert Warwick, Peter Godfrey, and William Davidson also appear in supporting roles. The film received Academy Award nominations for its Werner Jannsen (his first) Score and Lawson's (his only) Original Story.

Peasant farmer Marco (Fonda) and fellow peasant sheepherder Luis (Carrillo) discuss the love of their land and sheep, respectively. They are interrupted when a car driven by a woman crashes into Marco's ox cart. Norma (Carroll) is a foreigner on her way to town where her father is seeking art treasures. Her car no longer functioning, Marco & Luis decide to help her; Luis directs Marco's oxen who tow the car while Marco sits beside Norma in her front seats. He is taken with her beauty and perfume while she dreams of a less traveled life with a home to call her own. When they get to town, she departs to join her father while Marco and Luis begin to return home. Norma learns that her father Basil (Sokoloff) is once again working with a man she detests named Andre Gallinet (Halliday). But Basil promises his daughter that they'll settle down somewhere after they do one more job.

While Marco & Luis are headed out of town, they hear gunfire. Soon there is an exodus of all the town's residents until Marco decides it's time to make a stand. With impassioned words, Marco makes a speech which stops his fellow peasants' flight; they all decide to make a stand to save what little they have in the world. Their fight is successful and Marco is given a leadership position by the Commandant (Davidson), though in another town. After watching a magician (Godfrey) perform some slight of hand in a bar, Marco is suspicious enough to have the magician arrested while he follows another participant with fancy shoes. Not knowing that the man is Norma's father, Marco shoots Basil when he resists arrest, after he'd apprehended Basil in his apartment. Norma rushes into the room with several of Marco's men and is naturally upset with Marco for killing her father. Suspected of being a spy, Norma is taken in for questioning. Then, there's an air raid during which Norma and Marco are trapped in a basement together; Luis rescues them, but Norma escapes. She then learns that her father was part of Gallinet's spy ring. Gallinet is in a position to free her from General Vallejo (Warwick) if she'll deliver a message to the town she and Marco first met.

After reluctantly agreeing to deliver the secret message, Norma meets journalist Edward Grant (Denny) on the train there. He begins the process of her realization that the people Gallinet is working for are ruthless, but not before she delivers the message to his spies in town. In fact, Gallinet's side has instituted a blockade to keep food and other supplies from reaching the town, in order to break the peasants' spirit and crush the rebellion. The note that Norma delivered will allow them to sink the latest supply ship headed to their town. Horrified after what she sees, starving children and forlorn mothers, Norma goes to Marco to admit her guilt and convince him to let her undo what she'd done. After her impassioned speech, Marco allows Norma to leave, but follows her. Just when Norma had almost gotten the spies to cancel the submarine which would then sink the supply ship, Marco's men moved in and captured them all. However, just before Marco's raid, Luis is seen boarding a small boat with several other men.

It turns out that Luis and his companions, under Marco's orders, had dragged a dilapidated and empty ship out to sea to be sunk in lieu of the real supply ship. Of course, none of the spies knew that and General Vallejo and Gallinet, who'd just arrived in town together, are surprised to see the real supply ship arrive at port. Norma, who'd been arrested with six other spies, is taken before the General where she learns that he too is working with Gallinet. The General has just had the other six spies executed to keep from talking and is about to have Norma sentenced to death when Marco rushes in. She and Marco are then taken away. As the General is being congratulated for the supply ship (he'd wanted to sink) arriving safely, Marco and Norma are brought before him, followed by the Commandant who tells the General his spy gig is up. Marco gives yet another impassioned speech, seemingly to the film's audience, asking "won't anybody help?".
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When the ship comes in
dbdumonteil28 November 2007
The Fonda/Caroll romance is one of the weakest you can see in a thirties film.He seems to appear haphazardly at the most awkward moments.That leads us to a Corneille-like situation:Fonda has killed his love's father.

Politically,the film remains vague,always referring to the enemy as "they" like in Borzage 's 'three comrades" (but that was a great film though).The war was over on the first of March 1939;thus the film ,made in 1938,warns us ,in a clumsy way,that it's only the beginning:propaganda movies can be great,but it takes a strong screenplay (best example:"the mortal storm" Frank Borzage) and not a cat and mouse play between spies ,corrupt officers and profiteers of war.

In consequence ,the best scenes ,IMHO,are those which deal with the masses;the starving faces ,watching the ship sinking down are reminiscent of Eisenstein,whose influence was huge at the time.
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A Movie With and Without Political Content
juddfranklin29 February 2004
You'd really have to stretch to find a firm connection between this movie and the Spanish Civil War. If you were not a college student such as myself, studying this film, I doubt that you would even consider doing so. Remembering Franco is not a favorite pasttime of the people of this nation. It is a reminder of the fact that there was a leader who was willing to let his whole nation be decimated for personal gain. Yuckie! In the meantime, if you want cheesy, rigid filmmaking starring a paisley-cheeked Henry Fonda, look no further. Contains a love scene in a collapsed building, as well as a chicano actor pretending to be a spanish man pretending to play a flute. Dig the oxymoronic ending!

WARNING!!! Cheesiness may not lead to as many laughs as cheesiness of Tremors!
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