The Passage

...I managed to pack into a dozen scenes with the whole period of Nazi tyranny in a convincingly evil way." - Malcolm McDowell about his work in The Passage.

When I saw The Passage back in 1981, in Moscow, I had no idea that it had been a big flop in the USA where it only lasted a week upon theatrical release, that it was considered a bad movie a failure. It would be much later that I recognized very famous and talented actors who were in the film, James Matson, Anthony Quinn, Christopher Lee, and Patricia Neal. The film was directed by J. Lee Thompson, the Oscar nominated director of highly successful The Guns of Navarone (1961). By the time I was watching The Passage at the theater, I had not seen Stanley Kubrick's A Clock Work Orange or notorious Caligula, and I did not know what Malcolm McDowell was capable of as a screen villain. I did know McDowell from the Lindsay Anderson's O Lucky Man that also had been released theatrically in Moscow several years prior The Passage. O lucky Man had left a deep impression on me and huge part of it was McDowell's performance as Mick Travis, the young naive man with the most charming smile who wanted to succeed in this world. Watching McDowell in The Passage playing the psychotic obsessed Nazi chasing the family of the anti-fascist scientist across the Pyrenees I was horrified and genuinely scared. Every time he would enter the screen, I felt physically sick anticipating some horror act to follow and McDowell never disappointed. I won't argue that the movie may not be a great or even a good one but I do remember McDowell's performance all too well, and I could not forget him in the movie for 28 years. Now, after I've seen so many movies and memorable performances, I realize that McDowell was over the top and judging by his own words, he knew it very well and did it on purpose:

"I played this real nasty Nazi who was chasing these people across the Pyrenees. We all knew real early on that the movie was not going to be any great work of art and so I was determined to have some fun with it. My attitude was that if I was going to play a Nazi, I was going to take it totally over the top and do it right. I ended up playing the character like a pantomime queen. What I was doing was so far out that James Mason turned to me one day and said, 'That's wonderful dear boy, but are you in our film? You seem to be doing something different from the rest of us'..."

If after so many years, one performance in a supposedly bad movie stands out and you can't get it out of your mind, and you remember the exact day when you saw that movie, who you saw it with and how you felt, for me it means that the movie was not bad at all.

United Artist must have lost a bundle back then, when this film only lasted a week in all screens in Seattle when they released this film. The film is "R" rated, violent and brutal! McDowell plays a psychotic WW2 Nazi Captain who is in pursuit of a doctor (Mason) and his family (Neal, Lenz, Clement) who is on the run from the Nazi's, and is helped by a Basque guide (Quinn) and two agents (Lonsadale/Bouzuffi) to take them across the mountain to safetly. McDowell turns into a Nazi Caligula as he do sick things and plays it almost in a camp like fashion like wear a chef hat and chops off Lonsndale fingers while cooking and saying "chop chop, chop chop!", Burn a gypsy (Christopher Lee) alive saying "I'm send him exactly where he told me to go....HELL", and rapes Kay Lenz as he wears a Nazi symbol on his underwear! McDowall also places a black comb under his nose to look like Hitler in one scene! This film is beyond what McDowall did in CLOCKWORK ORANGE! This is a performance that Mike Myers should look into remaking! The ending is incredible, but I can't give it away, but the bad guy's death doesn't involve a gun. Not recommended if you hate this sort of entertainment, despite the fact this is one of those all star cast international co productions, but the TV print cut out of most of the nasty stuff, so check out the TV print instead if you are a fan of the 70's interantional all star cast epics! Others beware! Great score by Michael J Lewis though!

Okay, So this is an awful movie in the grand scheme of things - but its highly entertaining none the less, and also is quite compelling. McDowell over acts - but is watchable, Lenz is also watchable, and most of the other acting is fine too. The script lends itself to to a poor mans WW2 movie from the 60's, say a B movie - but otherwise there's good stuff along the way! This film is different, therefore worthy of a watch. A notable film score by Michael J lewis boosts it along and makes it feel 'bigger' than what it actually is. Not so bad. Watch it for entertainment value only, and you may not be too disappointed after all.

This is one of those films that haunts you years after seeing it. I remember when I first saw it I was horrified. I watched it again and the violence, although horrific, was easier to get past. McDowell is creepy (as always). Quinn is great (as always). Lenz, well what can I say, acting not great, but nice to look at. The violence is extreme in a few scenes, so be warned. All in all, a pretty good movie. I give it a 7.

In "The Passage," conflicting sentiments arise as one contemplates the film's inherent flaws while recognizing peculiar elements contributing to its memorability. Set against the backdrop of World War II, the narrative unfolds with a Basque shepherd tasked with guiding a family escaping the Nazis, all while being pursued by a sadistic SS officer. The film boasts an impressive cast, including Anthony Quinn and James Mason, who deliver acceptable performances. Christopher Lee appears as an agreeable gypsy, showcasing a departure from his usual villainous roles. However, it's Malcolm McDowell who steals the spotlight with an overblown portrayal of an evil, sadistic, and wry Gestapo officer. His performance is, at times, more campy than menacing, bordering on a pantomime of a Nazi officer.

J. Lee Thompson's direction is, unfortunately, unable to elevate the film beyond its flaws. The narrative is marred by an uneven script and lackluster pacing. The attempt to create tension and suspense falls short, and certain scenes feel disconnected, making it challenging to engage with the characters and their plight.

The cinematography, while visually capturing the gloomy reality of the wartime setting, is unable to salvage the film's shortcomings. The snowy landscapes become the backdrop for the final confrontation between the pursued family, the Basque shepherd, and the Nazis, delivering a moment of breathtaking intensity.

Reflecting on Malcolm McDowell's own comments about the film, where he acknowledged the lack of artistic greatness, it becomes apparent that he intentionally took his character to an exaggerated extreme, almost like a pantomime queen. While this choice may have added a layer of entertainment, it also highlighted a discord within the ensemble cast.

"The Passage" is not without its supporters, as evidenced by reviews mentioning the film's ability to linger in one's memory. Some viewers appreciate McDowell's captivating performance, acknowledging its uniqueness even within the context of a supposedly mediocre film.

In conclusion, "The Passage" stands as a film with evident flaws, marked by inconsistent acting, pacing issues, and a narrative that struggles to maintain engagement. While it may not achieve the status of a cinematic masterpiece, it manages to leave a lasting impression, largely due to the bizarre and unforgettable performance of Malcolm McDowell. I would rate it a 5.5/10, acknowledging its mediocrity while recognizing certain aspects that make it intriguing for those interested in peculiar cinematic experiences.