The Cross of Lorraine

Basically the story of the French resistance during the early '40s when the Nazis overtook France, THE CROSS OF LORRAINE is a forerunner of films like STALAG 17, but without the humor. Instead, it's a straightforward dramatic tale of the harsh treatment meted out to the French POWs in a German prison camp.

There are no real surprises in the plot--you know from the beginning that there will be an escape plan being hatched by JEAN PIERRE AUMONT, who takes over when the former translator/informer HUME CRONYN meets his fate at the hands of prisoners. Aumont and GENE KELLY have the leading male roles and both give earnest performances in this gritty drama directed by Tay Garnett.

Although it appears to be a low-budget film, there's a splendid supporting cast including SIR CEDRIC HARDWICKE, RICHARD WHORF, PETER LORRE (as a despicable German sergeant), WALLACE FORD and Joseph CALLEIA.

Film is engrossing all the way through but suffers from an ending that pushes the propaganda envelope too far as the French resistance overcomes the Nazi recruiters while Aumont and Kelly take aim with machine guns to help destroy a bunch of bad Nazis.

Summing up: A flag waving tribute to the French resistance, it's well done for most of the way but that ending is too over-the-top to be taken seriously.

The Cross of Lorraine is directed by Tay Garnett {The Postman Always Rings Twice/A Connecticut Yankee in King Arthur's Court} & it stars Jean-Pierre Aumont and Gene Kelly and was adapted from Hans Habe's novel A Thousand Shall Fall. The story is about French prisoners of war held by the Germans in World War II.

Yep, sure enough it's a propaganda piece, yep, sure enough it's low on budget, and, yep, the outcome will hold no surprises for anyone aware of propaganda based cinema. But don't let that in any way detract from what a tightly scripted and acted picture this is. Coming as it did in 1943 one could be forgiven for expecting a watered down tale of prisoners under duress; rising up and flipping the bird to those dam dirty Nazis. Yet, and with much thanks, we get a gritty and often brutal movie that's not afraid to call it as it sees it. The war, in case anyone was asleep during history class, was very much a case of the good against the bad and the makers here only reiterate that basic fact. With a couple of scenes memorable and worth the patience that is required to roll along with the predominantly dialogue driven tale.

Backing up Kelly & Aumont are Peter Lorre, Cedric Hardwicke, Hume Cronyn & Wallace Ford. Which alone speaks volumes as to why this is a nifty little treasure yearning to be dug out by other film fans. But this also has a good print which is devoid of fractures and makes for an easy on the eye experience. A film like this now would most likely be laughed out of the studio executive offices, but this is 1943, a troubled time, and this is a fine movie that certainly has enough intelligence and spunk to stop it getting weighed down by flag waving histrionics. 7/10

The film is hopelessly marred and scarred by its propaganda nature, which brands it with a character that debases it for history when the war once is over, which is a pity, for it's a great story with great actors, who all do their best, and there are some instances which are more realism than propaganda, especially towards the end, as the intrigue thickens, when prisoners start to escape.

It's Jean-Pierre Aumont's film, he is the most interesting character, as you never really know where you have him, as he constantly has to change footing according to what is happening around him, while finally his character emerges in full glory. Gene Kelly is also quite good as an impossible slugger who is completely quashed by Peter Lorre and his Germans, but his annihilation is not quite complete. You can't keep down Gene Kelly for long.

It's the boy in the end who introduces the cross of Lorraine and lifts the whole performance to a higher level. This is very far from one of the best war films, but it certainly has some good scenes worth seeing.

....and really shines in this shockingly violent film, which makes up in nail-biting tension what it lacks in subtlety. The scenes between Gene and Peter Lorre in the prison cell are as brutal as anything from the era, and the big escape scene with Jean Pierre Aumont driving the get-away ambulance will put you on the edge of your seat and keep you there. Kelly's acting chops are really showcased here, as his cocky, defiant spirit is shattered by his prison experience, transforming him into a broken emotional invalid.

But that's BEFORE the final moments of the film. When the wily, dashing JeanPierre unexpectedly turns the tables on the Nazis, we see a brief close-up of Kelly's tormented face, the explosive will-to-fight rekindled within him---a split-second image that continues to dominate my memory of this film 40 years after having first seen it on local TV.

A solid, extremely intense, and entertaining morale booster produced during the war's darkest days. The ending is so over-the-top it's almost operatic----but you'll stand up and cheer!

LR

PS-- Just watched the film again today (Jan 27, 2014); it's so darn good that I'm upping my rating from 8 stars to 9 Why? Because it is so expertly structured, paced, and directed. Each scene gives you JUST ENOUGH vital information to identify with the characters and the manner in which they evolve--especially Jean-Pierre Aumont and the way in which he takes over Duval's role as liaison with the Nazis and, in spite of the deterioration of his relationship with his comrades, gradually begins to hatch his daring plan to secure their release and that of his pal Gene Kelly.

Also, the interplay between Jean-Pierre and Peter Lorre, who changes in an instant from sadistic bully to flustered, subservient lackey when his commanding officer chews him out for his incompetence, is deftly scripted and carefully guided by director Tay Garnett's hand.

Other examples are the separate scenes between Jean-Pierre and Gene in the office of the camp commandant--- once again, superbly scripted and executed onscreen.

These are but a few examples of the superior craft that went into the making of this totally overlooked gem.

If you thought World War II Hollywood war movies were all sweetness and Casablanca fans, just wait till you see this gut-wrenching little propaganda piece, which must have come out the week the censors were all in Palm Springs. Perhaps the most realistic Hollywood portrayal of life as a prisoner of the Nazis until "Schindler's List," it's also quite intelligent and extraordinarily well-played by an excellent cast. You don't know the meaning of shock until you've seen Gene Kelly spit a huge gob of real sputum onto Peter Lorre's face--and then wait till you see what comes next. It's not Captain Renault and the roulette table, dearie.