Una tumba al amanecer

I make a difference, referring to war movies. There are some that are very faithful to the history such as Midway, Tora, Tora, Tora and there are some that emphasize the epic and heroic aspects of soldier life in terrible circumstances. I have to say that I am more interested in the second ones such as The Dirty Dozen, The Eagle has landed, etc. Counterpoint belongs to the second category. A famous music director (C. Heston) and his orchestra is kidnapped by the Nazy army in Belgium. The German General (M. Schell) wants this orchestra to play for him but the director delays this concert as much as possible to avoid his musicians to be killed. I think Ralphn Nelson felt some empathy for the character, starred by Heston because he was in the Army in the II World War and participated in different plays in Broadway to entertain people in the same way Heston tries to entertain soldiers in the cold Europe. Schell and Heston perform their roles perfectly: they admire each other but war has placed them in different sides of the river. Schell is far from the archetype of the Germans in the Hitler era. There is a love subplot between Heston and one old love, his musician,Kathryn Hays, who is now married with a partner, a serious Leslie Nielsen. This love story and the sequence in which an American soldier is nearly discovered by a German Colonel but he feigns to be a musician of the orchestra, playing the U.S. hymn, remind me of Casablanca. The cinematography of Russel Metty, in which the shadows have a relevant role, is quite brilliant. So, it deserves to be seen.

Juan Carlos del Castillo Álvarez