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A condemned prisoner has escaped (A à mort s'est condamner échappé)

A condemned prisoner has escaped (1956)

The story begins in April 1943. The young lieutenant Fontaine (François Letterier), a member of the Resistance, was captured by the Germans and, after a failed escape attempt, is being held in prison in Fort Montluc . From the moment you arrive at the prison, locked in a tiny cell, Fontaine begins to plan his escape, a plan that is favored when it is moved from cell to one located on an upper floor of the prison, where Fontaine begins wooden door to drill slowly, carefully calculating the time from every step to consummate his escape from prison.

As did other French filmmakers after the end of world war, the director Robert Bresson , a film dedicated to the underground resistance movement against occupation. Bresson developed the screenplay for the film from self-titled autobiography Devigny Andre, a member of the Resistance captured by the Germans in April 1943, after being sent to prison Montluc and torture at the hands of the infamous Gestapo chief Klaus Barbie , managed to escape in the company of another inmate to be executed before the death sentence provided for a few days later. The story of this daring and successful escape Bresson attracted attention and decided to take it to the big screen, the second title in its so-called " Solitude Trilogy." True to his style manual, the director insisted on achieving the greatest possible realism. Thus, the shooting took place at the same Montcluc prison where some of the facts, and lent itself to the director Devigny the real utensils he had used in his escape. In addition, for greater accuracy, and as was normal practice in their films, when choosing the cast, Bresson used a cast of unknown actors, some anonymous performers strengthen the sense of realism of the story.

Regarding valuation, we must say that A condemned prisoner has escaped, is all a brilliant visual style and narrative by Bresson. We are witnessing the history, quite simply, an escape plan. A simple game idea known Bresson taken much further with its visual mastery, which shows the detailed design and preparation of the escape plan that intends to pursue Fontaine. At the same time, thanks to the use of a well-studied close-ups and closed, the film can move the viewer feel claustrophobic solitude which the protagonist experiences locked in his cell.

feeling perfectly narrated over a tight 95 minutes of footage, which in conjunction with the director makes use of the ellipsis visual and sound effects (which includes talks in a low voice, footsteps away , and noise in the gallery of cells) are able to put the viewer in a situation. All this contributes to a narrative crescendo reaches its climax in about twenty minutes late full of dramatic intensity showing the execution of the flight and actually kept in suspense to the viewer, thanks to the mastery with which Bresson combined tension and anxiety, sensations that are transmitted largely viewers thanks to the clever use of the action and the sounds that occur off camera.

Among the less positive side, personally I missed something over Fontaine's character development as well as a tendency to schematization in dialogue and supporting characters, but it's understandable that the director opted for this given the deliberate restraint that takes the narrative. In any case, we must conclude that " A condemned prisoner has escaped " film is visually superb and very intense on the narrative plane. A good basic story, well told, and I recommend seeing to anyone who has not had the chance.

Rating: 7 / 10

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Madeleine Street number 13 (13 Rue Madeleine)

Madeleine Street, No. 13 (1947)

The OSS officer Bob Sharkey (James Cagney) is commissioned to train a new group of would-be spies, the group 077. When applicants arrive at the training center, Sharkey receives notice of his superiors that one of them is a German agent infiltrated. Sharkey soon discover that this is Jeff Lassiter (Frank Latimore), agent actually called Kuncel Abwerh , but decides to pursue his training to provide false information to the Germans through it. However, when Lassiter is parachuted into Europe, killing one officer and manages to escape, endangering the entire mission organized by the OSS spy on the French coast before D-Day

Madeleine Street

number 13 is a somewhat atypical film as a tribute to the fighters of the war invisible world of espionage agents. In this case, the director Henry Hathaway was inspired partly the history of the OSS director William Donovan , and intelligence official Peter Ortiz, who served as historical advisor to the production, to create this intense espionage thriller, set in the months before the landing in Normandy. Since at that time the activities and even the existence of the Office of Strategic Services (OSS) were still classified, the producer received the notice from the U.S. government that did not mention OSS in the film, an omission that was fulfilled when to prepare the script for the film, which never mentions these acronyms.

Entered to value film must say first that it shows that this is a story that draws on sources very close to the facts he narrates. The realism of the film is absolute, to the point of describing in a voice that at times seems almost documentary, training of agents, their preparation for all secret missions and the inner world of espionage. A realism that is reinforced by the fact that, as the prologue indicates, the shooting took place in real locations featured in the film. With a rather lively pace, the film peels the double game between the intelligence services when they discover that Lassiter is actually an enemy agent, and as they try to use disinformation German intelligence service.

I especially liked the character Sharkey, very well played by James Cagney , and as this emphasizes the need to set aside moral considerations, stating that " In espionage, the only loyalty is to comply mission at any cost . " Besides the training sequences, fights, and even the dialogues ooze realism, and of course the heroic flee free. Thus, the spies are trained to lie, steal and kill as necessary, and face the enemy in a life or death struggle where any error is paid with their lives.

In conclusion, number 13 Madeleine Street, offers a more interesting story about the secret operations of the OSS during World War II. It is a relatively unknown title, but has amazingly high doses of realism, intense narrative rhythm, and very believable atmosphere that manages to create for the viewer enters the plot. Of the best spy movies I've seen.

Rating: 7 / 10

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This land is mine (This Land Is Mine)

This land is mine (1943)

The story takes us to "somewhere in Europe (although it is understood that it is France) in 1941. The German occupation to the civilian population subjected to food deprivation and loss of all civil liberties. Amid this environment, Albert Lory (Charles Laugthon) a school teacher, middle-aged, mediocre, cowardly and a clear Oedipal complex due to the overprotection of his widowed mother, falls for the attractive Louise Martin (Maureen O'Hara), a teacher from the same school who is also her neighbor. Lory the bland life will be complicated when the resistance commits several acts of sabotage, involving Paul, the brother of Louise, which cause the local German commander, Major Von Keller (Walter Slezack), start taking people hostage, including the headmaster, Professor Sorel, a convinced anti-Nazi opposition.

Speaking about his film career in an interview in the 50's, the French director Jean Renoir , acknowledged that he was particularly proud of his film " This land is mine", which referred to as "My own proganda ." Not surprisingly, Renoir, who had escaped from France after the German invasion, had every reason to direct a propaganda film against the Nazi occupation, a project that could take place in Hollywood, being funded by the RKO production. The study lent his full support to the project so that Renoir was able to have two established stars as Charles Laughton and Maureen O'Hara to portray the lead roles. The film also opened heavily in U.S. theaters in May 1943, being very well received by audiences in full swing patriotic, and at that time was very receptive to this kind of propaganda film.

Entering analyze the film, I personally understand that Renoir felt no special love for this movie in his filmography. And that can not be denied that the film has some very notable, starting with the good performances of the cast, going through some memorable sequences (such as the Lory distress during the bombing) and ending with an emotional ending. However, personally I find that the cyclical aspect of the plot obviously has not entirely resisted the test of time. One aspect that I liked is the picture that is made from the Germans by Major Von Keller, a surprisingly balanced portrait of the era. This Similarly, Keller is not the typical evil and fanatical officer, but is portrayed as a practical man, who even tries to avoid unnecessary reprisals against the civilian population, a humanization of the enemy that is very enriching.

However, in general, the whole story lacks a greater degree of pace and dramatic intensity. In addition, there are a few twists of the characters that are not very credible, especially the final transmutation of Professor Lory cowering in a brave and resolute opposition to the occupants. In that sense, this film is often remembered the monologue Lory pronounced during his trial, which in addition to denounce the hypocrisy of traders who are enriched by the war and the black market, delivers a passionate plea for the sabotage and active resistance against the occupation. A monologue that many consider memorable, but it seemed to me somewhat forced, not to mention implausible. Personally, I find much more exciting final scene, which reads Lory students several articles of the Declaration on the Rights of Man and the Citizen before being arrested by the Germans, a scene that condenses perfectly the message of the film.

In conclusion, although not As one of the best movies made in Hollywood propaganda , This land is mine does offer several cinematographic aspects worthy of esteem, charisma than the interpretation of the great Charles Laughton. A classic that, although not all round, well worth seeing.

Rating: 6 / 10

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Hangmen Also Die (Hangmen Also Die )

Hangmen Also Die (1943)

Prague, May 1942. After the murder of Reichsprotektor of Bohemia-Moravia, Heydrich, nicknamed "The Executioner " at the hands of the Czech resistance, the Doctor Svoboda (Brian Donlevy), author of crime, tries desperately to escape the German police, eventually through the help of a stranger, Nasha Novotny (Anna Lee), who sends his pursuers in another direction. After a harrowing escape, Svoboda finally took refuge at the home of the Novotny family under a false name. While the Gestapo, the inspector smart Alois Gruber (Granacher Alexander) at the top, look for all of Prague to the murder, the occupation forces began to take hostages among the population of the city, including the father of Nasha, threatening to shoot them if it is not responsible for the death of Heydrich.

In 1933 Joseph Goebbels, the Reich propaganda minister, proposed to Fritz Lang, director of the legendary Metropolis , chairing the studies of the UFA, the German state producer. Lang's response, whose ideas were radically opposed to Nazism, Germany was abruptly flee, first to France, and finally bound for America, arriving in 1936, beginning on American soil the second phase of his film career. In this case, Hangmen Also Die marked the seventh feature film made by Lang in Hollywood, leading to an apocryphal story screen based on the death of Reinhard Heydrich Reichsprotektor , mortally wounded in Prague on May 27, 1942, after an attack carried out by Secret Service agents Czechs British. Since details of the assassination of Heydrich not known when the film was shot, Lang took as its starting point the same to build a fictional story that honor Nazi resistance in Europe. The screenplay was written by a German immigrant, the famous playwright Brecht Berltolt , along with screenwriter John Wexley , which represented the only Brecht collaboration accredited in a Hollywood film.

Hangmen Also Die can be considered one of the best anti-Nazi films produced during the war. Lang's hand is noticeable from the first minute (attention to the sequence that opens the film, with an absolutely menacing Heydrich addressing an audience of personalities) and manages to give the story a disturbing and oppressive atmosphere, built around characters moving on the edge of the knife. In addition, Lang gets to go well beyond the mere vehicle of propaganda, and instead, offers a typical story that combines elements of black cinema, police thriller, and denouncing politics. The film also is all a plea for individual freedom and a heartfelt campaign of the dignity of the people against their oppressors and injustice. This narrated on screen with the indisputable visual Lang label, with the use of plans and approaches that show the director of the Austrian expressionist roots. By putting a "but" perhaps it might be noted the relatively contrived about acquiring the plot when partisans try to involve in the murder Czako traitor, an aspect of the plot that did not seem very credible, but fits well in the subsequent outcome of the transaction.

Paragraph interpretive stand above all the actions of Alexander Granacher , embodying the cunning and clever Gestapo inspector Gruber, (in my opinion, the best character in the movie) and Gene Lockhart that gives life to beer Czako employer, the traitor of the resistance.

In short, Hangmen Also Die is a very valuable film in the filmography of the great Fritz Lang. Without being a masterpiece, nor one of the most outstanding work of its director, it is one of those titles whose visual and narrative mastery make the transition from years may not apply and can be enjoyed by viewers of any age. Definitely a highly recommended film.

Rating: 7 / 10

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Kukushka

Kukushka (2002)

The story begins in the front of Lapland in September 1944. In punishment for his attempted defection, the Finnish soldier Vekjo is abandoned and chained in a hill, armed with a rifle and some supplies to act as a sniper suicide. Shortly after coincidentally comes at the same place Ivan, a Russian captain arrested for alleged anti-attitudes, which looks like it moves jeep was attacked by enemy aircraft, being injured. Both will be hosted by Anni, a Lapp peasant widow who lives on a lonely farm near the site. Since that time established a number of peculiar relationships between the three characters, unable to communicate by speaking different languages, and forced to live in this remote hamlet.

Kukushka is a recent Russian production, directed by Aleksandr Rogozhkin filmmaker, who was also responsible for writing the script the film. The title Kukushka ("The Cuckoo") refers to the way in which the Russians called the Finnish sniper positions as well also refer to the family nickname Anni's character, the peasant Lappish states carry.

The Kukushka history is a clear account of dyes antiwar gathering in principle antagonistic characters in a remote and isolated spot, unable to communicate by the language barrier and have to be understood. A starting point of argument is reminiscent of John Boorman film "Hell Pacific ", although in this case the female character of Annie comes to add a neutral point of view the two men in top enemies. The best of the film is, in my point of view, in the first half hour of footage, which, with a slower pace but with accuracy, the director is showing us the characters while showing the harsh climatic conditions site through an evocative use of images that makes up for the absence of dialogue. However, once the three characters meet, the film ends to find the right thread to develop the issues raised in depth.

And this is mainly due to that, in the end it is a collection of somewhat disjointed situations, and some dialogs not without some humor, caused by the inability of the characters to understand each other. But the human aspect and anti-war, a priori, it had the story has just taken place and gives the feeling that I could have made much more juice to it. And this despite the only correct interpretation of the trio work of leading actors, all unknown, but meet with reliability in their respective roles, despite the constraints of a script that is missing a major point of imagination.

Nevertheless, it is undeniable that Kukushka offers a completely new story, but with a touch of originality that do not exempt interest. A title that will appeal to lovers of European cinema, though it offers a story that could have given more of himself has been told with greater expertise.

Rating: 5.5 / 10

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Road to Freedom (The Way Back)

Road to Freedom (2010)

The action begins in Poland in 1940. The Polish army officer Janusz (Jim Sturgess), a prisoner of the Soviets is convicted of espionage after being falsely accused by his wife. Weeks later, Janusz is sent to a Siberian Gulag along with hundreds of other prisoners considered dangerous by the regime of Stalin. There, amid a hostile environment, Janusz meet other colleagues as Valka dangerous criminal (Colin Farrell) or Smith (Ed Harris), an American detained for no reason too real for that. All of them, along with other prisoners plan a daring escape and a flight to the Far East walking across a vast expanse of the USSR.

Seven years later having filmed his latest work with the estimable "Master and Commander ", the Australian director Peter Weir has taken up the address with this epic tale set in stains sinister prison system (or Gulags) of USSR. With a script based on different sources, but mainly drinking autobiographical account of the Polish writer Slavomir Rawicz entitled The Long Walk: The True Story of a Trek to Freedom ("The incredible walk, the true story of an expedition to Freedom "), the film deals with an issue-that of the POWs in the USSR and its epic flight-is reminiscent of the German production " far as my feet carry ", while Weir has had production means much more luxurious than its predecessor. It is noteworthy that questioned the veracity of the story Rawicz in his book, and even it has been speculated that the author was actually liberated by the Soviets after the German invasion, and would only translate into his work the heard stories of other prisoners actually escaped the Gulag. In any case, it said Weir discusses his film " A fictional story based on real events ."

Entering

assess the film, the truth is that in its formal aspects, Journey to Freedom offers a touch typical of small-scale productions of Weir. In that regard, photography, setting, and the footage in spectacular outdoor scenery are first class. However, in the narrative level, in my point of view this film does not reach the same level of dramatic intensity that if I pass Master and Commander. The first part of the film, showing the Gulag environment, condensed for my taste the best of the narrative, combining an intelligent presentation of the characters with a realistic description of appalling conditions of the Stalinist prison camps. However

from the time of flight-shot, of course, with little drama, the film becomes more conventional, showing a series of adventures experienced by the characters go through their extensive tour which would seem somewhat linear and lacking in capacity to surprise the viewer, beyond the spectacular panoramas of turn sequences. This is despite the introduction of action scenes are well filmed, and despite the good work of interpretation of the key players among them the always effective Ed Harris, and Jim Sturgess , despite which a the film lacks a "plus" to excite the viewer.

In short, " Road to Freedom" will remain in a proper epic story of dyes, with a formal and visual look very polished, but somewhat lacking nerve in the narrative section. However, it is an interesting story, well filmed, that does not detract one viewing.

Rating: 6 / 10