O Inspetor

Dolores Hart heads a cast of mostly British players in The Inspector, a film about a Dutch Jewish refugee determined to get to Palestine. Her's is a tightly controlled performance of a woman for whom every kind of emotion has been drained out of her. But she wants more than life itself to live in a Jewish homeland, a place where she doesn't feel like an unwanted guest.

Stephen Boyd plays a Dutch police inspector who covers up the fact that she killed a white slaver looking to pimp out her sexual services. Boyd and Hart are kept under a loose surveillance by British intelligence as many try to help them in their quest.

As we know the politics of oil kept the British who occupied Palestine tilting toward the Arabs. But for many, humanity dictated otherwise.

A nice cast was put together in support of Boyd and Hart and standing out are Leo McKern as a gruff Dutch barge captain, Donald Pleasence as a surveilling policeman and Hugh Griffith as a gunrunner.

For the leads this is some of the best work they do in their interrupted careers, Boyd by an early death and Hart by retiring from acting to go into a convent where she still is a mother/prioress.

Exodus was an epic tale of the founding of Israel. The Inspector reduces the story to an inspiring singularity.

Lisa is a powerful drama about a German concentration camp refugee, played by Dolores Hart, trying to get to Israel to begin a new life after the war, and the Dutch Police Inspector, played by Stephen Boyd, who decides to help her. The story is gripping and intense and the performances are superb. Both Stephen Boyd and Dolores Hart turn in one of the finest performances of their careers and so does the all-star supporting cast, including Donald Pleasance and Hugh Griffith. Wonderful film for a rainy day afternoon.

I saw this film as a young girl in the sixties and never forgot it. One of the great pluses in this film is the very deep cast of English character actors who parade through the story. Not the least of which is Donald Pleasence. I consider this film the first to bear the, Donald Pleasence is in it, it must be good, rule. You know, that seal of approval that M.Emmet Walsh and later J.T. Walsh brought to their work.

I consider this to be Stephen Boyd's best work, and indicative of the career he could have had, had he not been saddled with the "too good looking for his own good" curse that ruined the aspirations of a lot of actors doomed to play shallow roles. As for Delores Hart's final screen performance, goodness only knows what she could have accomplished had she not committed her life to God. One of the great show biz what ifs. But the real star of this movie is the story, with its brutal for its time period, depiction of refugees problems in a post war Europe. Attempting to start anew while unable to escape the horrors of her war time experiences, Lisa is an unwanted and painful reminder of a society that wishes to move on but can't agree on how to handle the problems of thousands of extraneous displaced victims. And how this film refuses to sugar coat the ending, leaving its characters with choices that can only be described as excruciatingly heartbraking and yet uplifting at the same time. The post war experience in Europe was no picnic for the victims or the guilt ridden bystanders. This film will haunt you.

This is one of my favorite movies by the actor. Definitely not a miscast and great acting. Also a great story but maybe you would have to be first generation WW II dependent and from Holland to appreciate it's value. The novel by Jan De Hartog is extremely accurate of what went on in post war Europe and I loved this movie. Highly recommend it. Great scenery and tells the tale of the displacement of Holocaust victims as well. This movie did give him another nomination for the Golden Globes and rightly so.

I watched it during my mid-teen years (circa 1980); I'm male. Fortunately, I didn't suffer the burdens some of these other reviewers suffered when they viewed it, such as knowing one of the actresses was notoriously Catholic or paying attention to her fair complexion such that I couldn't accept her character as Jewish. I try my best to remain ignorant of these sorts of things so that I have the best chance possible of appreciating a quality movie for what it is. It was probably my first time seeing any of the actors, so I wasn't comparing their performances to their prior and subsequent performances, or wondering why they didn't earn an award nomination for this role when they earned one for some other. Nor did I didn't make note of historical inaccuracies during the movie, as though I expected a documentary. I simply sat down and watched a movie, hoping to be transported--and I was.

This is a love story, first, second, and foremost. It is so in a deep, subtle, convoluted way, however, as opposed to explicitly/passionately/upliftingly so--a love that is fought and denied, inwardly and outwardly, for a variety of reasons, some of which are quite somber. If you don't appreciate that sort of thing or aren't in the mood for it, then I wouldn't be surprised if you rated this movie somewhere between 6 and 8. The suspenseful storyline serves as powerful enrichment to the love story, not as brilliant portrayal of the historical, political, and moral issues involved. If you can appreciate subtle romantic love stories that are devoid of explicit expressions of passion and set in darkness, curl up some emotive evening with a sensitive significant other, and I think you will enjoy it immensely.