Assignment in Brittany

Jean-Pierre Aumont, Susan Peters, Signe Hasso, and Margaret Wycherly star in "Assignment in Brittany," a 1943 film.

The story concerns a young man, Capt. Pierre Matard (Aumont), who is sent to France because he is a lookalike of an injured man, Bertrand Corlay (also Aumont) hospitalized in London. The British need to location of a port in Brittany that has destroyed a lot of British ships. Pierre goes to France and impersonates Corlay.

Matard knows a great many facts about Corlay but nothing of his cold personality and the fact that he has been playing ball with the Nazis. Bertrand's mother catches on fairly quickly; his girlfriend (Susan Peters) is slower on the draw. Corlay also has a mistress (Hasso), which comes as a surprise. He works with the Free French, all the while trying to keep himself and others out of danger.

The last time I saw Jean-Pierre Aumont was in a TV movie called Sins in 1986. He was 75 years old, and I don't think I ever saw him as anything but elderly. Well, boy, what a hunk he was - that beautiful mane of hair, glorious smile, good build - wow.

This is a typical black and white film about the war, showing the courage of the people in the French resistance. Everybody was good, and despite a critique of stage mannerisms on this board, I was frankly unaware of it.

It was nice to see the lovely Susan Peters as the shy but loving girlfriend of Bernard, who actually falls for his impersonator Matard. Only two years later, she would be in a hunting accident and spend the following 7 years in a wheelchair, until her death in 1952 at the age of 31.

Aumont actually fought with the Free French in North Africa. He was widowed in 1951 when his wife, Maria Montez, died of heart failure while sitting in a hot bath. He remarried in 1956, to Marisa Pavan, and stayed married to her until his death 45 years later.

Good movie, good suspense, and a young and vital Aumont.

I can't remember the exact year, but my mother and I were invited to an evening at the Uptown Theatre in Toronto, Ontario for a special screening of Assignment in Brittany in aid of the Free French movement. It was a very exciting time for me, and Jean Pierre Aumont was there in person. I was 14 or 15 at the time, and I have never forgot the evening. Our tickets were a gift from a french teacher at the Cental High School of Commerce. It was a gala evening, in spite of the fact that war was raging in Europe and the Pacific. I was of an age when I was entranced by movie stars, and to see Mr. Aumont in person was a dream come true.

I wonder if there are others who attended that show. Mr. Aumont was introduced, and spoke at length about the Free French movement, and encouraged donations to support them. I enjoyed the picture very much, as did my mother. There was a reception after the screening, where we were introduced to Mr. Aumont, a very gracious man. Perhaps it was the fact that the war had been on for it seemed forever, and the picture showed what ordinary citizens could do to help defeat the enemy. Certainly, although we did not suffer the devastation of actually being occupied or bombed, we were well aware of the loss of our dear family and friends. There were many films made about the war but this seemed special because of the appearance of people who had direct connection with the Free French movement, and we were hearing about it first hand.

The film emerges from a moment when Hollywood was still adjusting its craft to the pressures and demands of a world at war, and that context permeates every technical and artistic choice on screen. The wartime environment shaped not only the tone but the methods of production: studios were urged to produce works that could sustain morale, clarify allegiances, and sketch the war in forms that felt immediate without necessarily adhering to combat realism. This influences the film's visual texture-there is a crispness to the lighting and a restraint in the staging that reflects the necessity of speed, efficiency, and thematic clarity rather than the more atmospheric ambiguity that would later define post-1945 resistance dramas. At the same time, 1943 was a year in which Hollywood began experimenting with grittier chiaroscuro to mirror the clandestine nature of occupied Europe, so the film occupies that early transitional space between polished studio artificiality and emerging noir-inflected war aesthetics.

The cinematography favors a careful balance of theatrical composition and emerging location-realism simulation. Interiors tend to rely on controlled lighting that emphasizes sharp contrasts between characters, which suits a story of infiltration, suspicion, and shifting identities, even if the effect sometimes appears too immaculate to evoke the psychological tension it seeks. When compared to The Moon Is Down (1943), which uses shadow and spatial depth to evoke the pervasive dread of an occupied town, the film opts for a clearer, more linear visual strategy, shaping its images to ensure narrative legibility over atmospheric weight. On the other hand, when juxtaposed with the rougher visual textures of Edge of Darkness (1943), the film's studio-driven compositions feel slightly more contained, less invested in rugged realism and more aligned with precise dramatic staging. That choice is neither a flaw nor a strength by itself, but it does position the film firmly within the propagandistic priorities of its production year: clarity over ambiguity, legibility over immersion.

The sound design and score underscore these tendencies. The music aligns with 1940s studio conventions where emotional cues are explicit, with orchestration rising predictably to underline tension or resolve. There is a certain earnestness to this musical language, a desire to embolden the viewer rather than allow unease to linger. While this works well in moments of mobilizing patriotic sentiment, it occasionally undercuts opportunities for a deeper psychological portrayal of clandestine resistance. Compared to The Moon Is Down (1943), which employs a more subdued and atmospheric scoring style to capture the dread of occupation, this film maintains a brisker musical momentum, reflective of its focus on mission-driven urgency rather than existential strain. Sound effects-boots on cobblestones, distant artillery rumbles, hushed voices-are cleanly mixed but never intrusive; they serve narrative efficiency more than world-building density.

Acting in the film adheres to the wartime performance codes of moral clarity and expressive restraint. The protagonist's dual role demands a modulation between controlled intensity and outward calm, and this is executed with commendable discipline even when the script pushes toward melodramatic expression. The supporting cast operates within archetypes recognizable from similar wartime resistance narratives, though certain secondary performances bring more nuance than the screenplay might have initially suggested. Faces are captured in tight, deliberate close-ups that highlight moral resolve, fear, or defiance, often substituting psychological depth with emblematic purpose. In comparison with Uncertain Glory (1944), close enough in era and similar in its depiction of duplicity within occupied Europe, the performances here are less shaded by moral ambiguity and more aligned with the straightforward heroism the year of production demanded. This reduces complexity but increases readability, which was a key aim of films intended to strengthen civilian morale while acknowledging the difficulties of European resistance movements.

Production design reflects the paradoxes of wartime filmmaking: a desire to evoke occupied Brittany with limited resources and without the ability to film in Europe. Sets are crafted with care, and although the textures sometimes betray their studio origins, there is an admirable effort to recreate the claustrophobia of villages under surveillance. Costuming is notably precise, lending visual credibility even when spatial authenticity is harder to achieve. The mise-en-scène purposely avoids overcrowding: resistance films of this moment often rely on bareness rather than density, suggesting a landscape emptied by fear and control, and the film follows that pattern effectively. Yet there are areas where a more daring visual strategy could have deepened the sense of danger-props and environments occasionally appear too orderly for a region under occupation, a contrast to the more lived-in feel of Edge of Darkness (1943), which leans into rugged textures to enhance the sense of communal struggle.

Editing supports the film's forward momentum with clean, unobtrusive cuts. Transitions are designed for precision rather than rhythm, with a tempo that mirrors the protagonist's mission-focused trajectory. There are moments where the editing feels almost too brisk, sacrificing atmospheric buildup in favor of narrative progression, but that tendency fits the propagandistic function of many 1943 resistance films: urgency was a virtue, contemplation a luxury. The film's pacing remains consistent, though some viewers might sense that emotional beats resolve more quickly than they have time to fully resonate.

Thematically, the film reflects the morale-bolstering imperatives of mid-war Hollywood: a reassurance that occupied Europe harbored both courage and loyalty, and that clandestine operations were both necessary and noble. The message is unmistakable, shaped by the anxieties and needs of 1943, and this historical context explains both the film's strengths-its conviction, clarity, and sense of purpose-and its limitations, such as occasional overstatement and a reluctance to explore morally ambiguous territory. At a time when audiences needed orientation as much as entertainment, the film answers that call with a blend of suspense, visual polish, and narrative directness, offering a crafted wartime artifact whose technical and artistic choices reveal as much about the moment it was made as about the story it seeks to evoke.

This is a wartime film obviously intended to bolster the public's resolve. It stars a French expatriate, Jean-Pierre Aumont, who came to Hollywood when his country fell to the Germans. Unfortunately, not too many other French actors were available...and those who SHOULD have had French accents never even tried. So, it's all a bit strange with Aumont the only French person in a film set in a France where everyone has American and British accents!! Just suspend your sense of disbelief and watch.

The story is a bit silly but enjoyable. It seems that a French agent cannot go back to his native land for an assignment due to an injury. But, they manage to find a Free-French officer, Pierre (Aumont) who looks a lot like him. And, after a bit of plastic surgery, voila...the man has a double who will do the assignment for him! His job is to locate the secret German submarine bases so they can be destroyed. And, until he locates them, Pierre is to assume the other man's life...living withe man's mother and interacting with his friends.

The story that follows is rather typical of a wartime film. However, the Germans are not quite as monstrous as they often were in WWII- era films--as the filmmakers were going more for realism in this instance. Overall, it's enjoyable but a tad dumb. Turn off the part of your brain that questions silly plot lines and you'll no doubt enjoy this generally well made film.

Solid story, I think well done and paced nicely for modern sensibilities even. Dramatic scenes jump to quite harrowing action without warning, and play out realistically. A relatively simple, high-stakes spy/war plot, clearly resolved. Nice bits of play acting, being discovered, double agents, etc. etc.

Some here complain about the acting, but I thought it all worked great, and the supporting cast really held up their end; even people on screen for two minutes seem real, and to be motivated by actual emotion.

Not a great transfer, and hard to watch but I caught it on TCM. Nicely done sets, and mostly works within the confines of budget by keeping things indoors and at night. The few outdoor scenes (especially those in the day) are a bit lame in the backlot/studio way they were, but that's about the only flaw I can find in it.