Guerriers dans l'ombre

Despite the usual budgetary restrictions, this manages to convey a sense of the danger and great sacrifice made by these brave people who fought for our freedom. Charles Crichton brings out the human story rather than the all-action tale of some movies. Scenes with John Slater visiting his wife seems slightly corny now, but then must have seemed so close to events (just 3 years after the end of WW2). And the outcome later makes it all the more poignant. I thought a movie like this would be good to show in schools, as a part of history lesson. I love all those character actors they were part of my childhood, and they were such real actors and people. (Take note Arnold, et al) And I still haven't got over Jack Warner's Max (our own Dixon of Dock green) who would have adam 'n' eved it!

I did not know this film about French Belgian resistance army. I did not know either that Chuck Crichton made such non comedy features, and I am not disappointed at all. And Simone Signoret gives here one of the three French partisan character she had - and maybe more, I don't exactly know - in her career. Before Jean-Pierre Melville's ARMEE DES OMBRES and René Clément's LE JOUR ET L'HEURE. She is awesome here and I don't understand the reviews against this movie. I just discover it after decades of film passion. Later is better than never.

First the good bits and that mainly centres around Simone Signoret, who as usual is excellent. But this poses a problem, for the "love-affair" of the film, which involves her and a young Gordon Jackson who looks and acts as though he had never been out of Cowdenbeath. So hardly the material to interest a sophisticated European lady as played by Ms. Signoret. Not good casting, indeed one of the more ridiculous romantic combinations in the history of motion pictures.

That being said the film, in black and white, has some atmosphere, tension and you feel that you are there, which is important. The rather bizarre casting continues, however, with the unlikely scenario of a rather elderly Jack Warner playing the part of a commando. Still if he was still an active policeman at 80 years of age in Dixon of Dock Green , who are we to argue with his credentials. In addition he is part of the two most memorable scenes in the film, one when he meets the Irish girl working for the Germans and secondly when he has to contend with a very angry Ms. Signoret holding a pistol.

James Robertson Justice is, as always, very believable as the organiser of the missions working from base and there are some good supporting actors who play around his character. For some reason the part played by John Slater irritated me from start to finish, though the rest of the cast, including Robert Beatty, were sound if a touch wooden.

I would summarise this film as a pleasant and nostalgic way to spend a rainy afternoon and if it is on sale for around £5 then worth a look.

Simone Signoret shines as does James Robertson Justice. In fact JRJ I have been impressed by JRJ often yet his acting is rarely praised.

A modern film about the SOE would be welcome.

Surprisingly tense account of allied forces operating behind enemy lines in WWII France, infiltrating enemy strongholds and generally destabilising the occupation in collaboration with resistance fighters. Canadian Robert Beatty and Scot Gordon Jackson are the principals protagonists, teaming up with Simone Signoret in an elaborate game of cross and double cross, evading the Germans while they attempt to rescue one of their own.

Great cast with Jack Warner as the convivial commando (belying his autumn age), while Jackson and Beatty are the more intense agents, the former engaging in a rather unlikely romance with Signoret's character, herself a highly capable spy and willing to pull the trigger as required. Burly JRJ is the puppet master overseeing the covert operations, while Paul Dupuis has a memorable role as a turncoat doing everything he can to aid and abet the allied rearguard.

There's two or three very memorable moments in this film, and a relative surfeit of violence for its late-forties vintage - the Signoret-Warner scene is quite brutal and unexpected. Good use of sets and exteriors, and while there's a few clichés, I found it quite an addictive film that holds the attention pretty well.