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Die vermißte Patrouille

Originaltitel: The Lost Patrol
  • 1934
  • 16
  • 1 Std. 13 Min.
IMDb-BEWERTUNG
6,8/10
3821
IHRE BEWERTUNG
Boris Karloff, Reginald Denny, Wallace Ford, J.M. Kerrigan, and Victor McLaglen in Die vermißte Patrouille (1934)
ActionAdventureDramaWar

Wann ein Leutnant einer britischen Patrouille während des Ersten Weltkrieges stirbt, werden die ahnungslosen Mitglieder der kleinen Patrouille der Gnade unsichtbarer arabischer Soldaten in d... Alles lesenWann ein Leutnant einer britischen Patrouille während des Ersten Weltkrieges stirbt, werden die ahnungslosen Mitglieder der kleinen Patrouille der Gnade unsichtbarer arabischer Soldaten in der mesopotamischen Wüste überlassen.Wann ein Leutnant einer britischen Patrouille während des Ersten Weltkrieges stirbt, werden die ahnungslosen Mitglieder der kleinen Patrouille der Gnade unsichtbarer arabischer Soldaten in der mesopotamischen Wüste überlassen.

  • Regie
    • John Ford
  • Drehbuch
    • Dudley Nichols
    • Garrett Fort
    • Philip MacDonald
  • Hauptbesetzung
    • Victor McLaglen
    • Boris Karloff
    • Wallace Ford
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,8/10
    3821
    IHRE BEWERTUNG
    • Regie
      • John Ford
    • Drehbuch
      • Dudley Nichols
      • Garrett Fort
      • Philip MacDonald
    • Hauptbesetzung
      • Victor McLaglen
      • Boris Karloff
      • Wallace Ford
    • 61Benutzerrezensionen
    • 37Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 1 Oscar nominiert
      • 3 Gewinne & 1 Nominierung insgesamt

    Fotos120

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    Topbesetzung16

    Ändern
    Victor McLaglen
    Victor McLaglen
    • The Sergeant
    Boris Karloff
    Boris Karloff
    • Sanders
    Wallace Ford
    Wallace Ford
    • Morelli
    Reginald Denny
    Reginald Denny
    • Brown
    J.M. Kerrigan
    J.M. Kerrigan
    • Quincannon
    Billy Bevan
    Billy Bevan
    • Hale
    Alan Hale
    Alan Hale
    • Cook
    Brandon Hurst
    Brandon Hurst
    • Bell
    Douglas Walton
    Douglas Walton
    • Pearson
    Sammy Stein
    Sammy Stein
    • Abelson
    Howard Wilson
    Howard Wilson
    • Aviator
    Paul Hanson
    • MacKay
    Abdullah Abbas
    • Last Arab
    • (Nicht genannt)
    Frank Baker
    Frank Baker
    • Rescue Patrol Colonel
    • (Nicht genannt)
    • …
    Neville Clark
    • Lt. Hawkins
    • (Nicht genannt)
    Francis Ford
    Francis Ford
    • Arab
    • (Nicht genannt)
    • Regie
      • John Ford
    • Drehbuch
      • Dudley Nichols
      • Garrett Fort
      • Philip MacDonald
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen61

    6,83.8K
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    7secondtake

    Strangely affecting even with the falseness of some of the shooting and acting

    The Lost Patrol (1934)

    A John Ford war movie five years before his breakthrough movie, "Stagecoach," is interesting at least in relation to his career. So I watched this (on Warner Archive Instant).

    And his lifelong themes are here—men in the wilds facing their weaknesses. His war films and westerns all have qualities of machismo, for sure, but they aren't just masculine adventure flicks. That's what makes even something like this minor effort stand up over time. When two of these men, after seeing their fellow soldiers die one by one, sit and smoke a pair of cigarettes and talk about themselves and their lives and their halted dreams, you have the depths of the movie. And of John Ford.

    The plot is a contrivance—a British WWI patrol gets lost in an Arabian desert with hostile fire around them. As each of the dozen or so men dies, either from standing up at the wrong time, making a run for it, or just losing their mind in the heat, you zero in on the few that remain. And on the idea of survival. But none of this is particularly realistic. In fact, most of the film is supposed to be a night and it's bright as noon.

    But Ford must have known it was a fable he was laying out, and he knew as well the realism he needed in the interactions between the men, all ordinary fellows. Except for one religious nut played with believable excess by Boris Karloff, and he also is a symbol of what their options are.

    And so it steadily dwindles on, the men and the film, honing down to the final moments of desperation. And then a big sudden end which feels about right. That's what is odd, somehow—the actions of the main characters become more and more realistic as they get more extreme.

    For those interested in Ford's famous blocking out of how his movies are shot, this is a decent example. Because most of it was shot on this oasis set, he could control within these confines the angles and the use of space of confinement well. Which is partly what the movie is about, too, thinking about either escape or entrapment and death. Not a great movie, but with an aura of greatness here and there and in the overview.
    10Ron Oliver

    Sandy Classic

    THE LOST PATROL from the British Army in Mesopotamia desperately defends itself in a tiny oasis from Arab attackers.

    John Ford directed this powerful Great War tale of agonizing heartbreak and desperate perseverance. The film becomes a character study as the eleven soldiers succumb, inevitably, to madness and snipers' bullets. Ford craftily keeps the Arabs unseen for an hour, making the implacable desolation of the sun scorched desert the men's worst enemy.

    British actor Victor McLaglen is the absolute backbone of the film. Beefy McLaglen--who had his own distinguished military career in World War One--is perfectly believable as the stalwart sergeant with the task of keeping his men alive at the water hole until relief can arrive. Bullying, blustering, brave, his is a heroic performance of a man fighting titanic odds.

    Gaunt Boris Karloff appears as a religiously fanatical private; his final scene, carrying a large cross up a dune, is especially memorable. Also in the patrol are Wallace Ford as a lively music hall performer and Reginald Denny as a gentleman with a past. Among the other men are good-natured Billy Bevan, sturdy Alan Hale and naive teenager Douglas Walton.

    Max Steiner's powerful soundtrack propels the plot onward to its inevitable conclusion.
    6Art-22

    Despite some flaws, the film still delivers an emotional feeling of helplessness.

    John Ford's critically acclaimed film has lost some of its punch, but still delivers an emotional feeling of helplessness, as the lost patrol is menaced by unseen Arabs, and are picked off one by one until few are left. That feeling is reinforced when a rescue airplane lands and the pilot, unaware of the danger, cavalierly walks toward the men, who try to signal him to take cover. But there are bit too many dead spots between the action sequences. And Boris Karloff tends to overact his religious fanatic role, which got on everyone's nerve, including mine. Still, the film is beautifully photographed and has a good Max Steiner score.
    9tpea1

    THE Lost Patrol Reflects Ford's' Philosophy of Life

    John Ford's the Lost Patrol probably reflects Ford's views on life in general . Ford knew what he wanted in the way he handles the various actors in their parts and each fulfills their role admirably . Karloff is a bit over the top at times and evidently Ford wanted that . Ford's symbolism is reflected in the setting , the circumstances and the characters and is enhanced by Max Steiners' brilliant score . The characters are a " Grand Hotel " collection , but each having his own views about life and how death meets them.

    The setting is Mesopotamia , the original Garden of Eden as pointed out by Karloff . Here is Eden ruined by the fall of man , bleak , barren and deserted .There are only ruins with very little nourishment for sustenance . Death is represented by the unseen Arabs. It strikes without warning or without being seen . It strikes at the most inopportune times . All want an opportunity to fight this unseen enemy that has decimated their ranks.It strikes mercilessly and cruelly and shatters all hope . Man facing his mortality controls nearly all of the discussions and the reminiscing .

    The helplessness of man in the midst of his circumstances seems to be Ford's "arch" for this film . This is conveyed by the inability to see the enemy or know when he will strike . He steals the provisions needed to survive and there is no way to retrieve them .The seeming 'victory' of reaching the oasis shatters that illusion after the first night .

    One other commented on the anti-Christian ( or religious ) bias of Ford that shows itself in this picture . One strong point that Ford makes is that there is ' no help from above '. The airplane seems to be a sign that help has arrived , but that hope is soon shot down . Then the two men discuss that they know nothing about flying ( read religion ) . Their final act of helplessness and unbelief is to burn the plane . No help is coming from above ( God ) .

    I sat spellbound watching Ford weave a masterpiece of a tapestry of symbolism . Here is Ford at the top of his game and illustrating his genius whether you agree with his philosophy or not . This is not just a story ( and it is a great one at that ) , but it is man's response to life . That is where and why the attempted remakes have failed . They see only the struggle and try to focus on that . The struggle against odds has been done in every genre ,so they bring nothing new to the table . Ford used the struggle as a tableau for the deeper struggle of the basic dilemmas of man and life.

    I will watch this over and over .
    8Bunuel1976

    The Lost Patrol (1934) ***1/2

    The second film version of an archetypal adventure story is arguably the best despite some dated elements; John Ford deftly handles the proceedings and Max Steiner's stirring score - which at times foreshadows his later one for CASABLANCA (1942) - is a major asset. The solid cast of character actors is highlighted by Boris Karloff's remarkable turn as a religious fanatic who is slowly driven crazy by the amorality of his comrades and the futility of their struggle against unseen Arab attackers. The film can not only be seen to form part of the "British Empire" sub-genre of adventure films - with THE LIVES OF A BENGAL LANCER (1935), THE CHARGE OF THE LIGHT BRIGADE (1936), THE FOUR FEATHERS (1939) and GUNGA DIN (1939) being its most notable contemporary examples - but, if one were to stretch it a bit, also paves the way for more modern stuff like John Carpenter's ASSAULT ON PRECINCT 13 (1976). It's unfortunate that nowadays, only the 66-minute reissue version seems to be available rather than the original, full-length 74 minute version. Over 20 years ago, I missed my one opportunity to watch this one on Italian TV and have been on the lookout for it ever since; however, I did manage to catch two similarly-themed wartime actioners, BATAAN (1943; with Robert Taylor) and SAHARA (1943; with Humphrey Bogart) over the years which were quite good in their own right. Curiously enough, Cyril McLaglen had played the same part played here by his brother Victor in the earlier 1929 British film version.

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    • Wissenswertes
      Victor McLaglen actually served with the Irish Fusiliers in Mesopotamia (modern-day Iraq) during World War I at the same time this story takes place. He eventually rose to be Provost Marshal--equivalent of Police Chief--of Baghdad.
    • Patzer
      As the plane is circling the encampment, you can see tire marks in the sand.
    • Zitate

      Brown: I can't say much for the women though, but, oh, the girls! All Malayan females should be poisoned at 21. Before that, they're... Mmmmmm!

      Jock MacKay: But a bit on the dark side, hunh, Brown?

      Brown: Oh, yes, they're dark, but the longer you're there, the whiter they get, or that's the way it seems. That didn't bother me, Jock. I'll never forget the first time I saw... We sailed into a little harbor about sundown. The girls all came swimming out, flowere in their long hair, singing and laughing up at us from the water. Brown skin? Seemed like gold to me! A richer, deeper gold than any metal! I can see that gold shimmering now on their wet bodies as they swam like mermaids to the rail and climbed on board, laughing at us like a lot of shameless imps.

      Quincannon: Ah, man, Topper, 'tis the soul of a poet you have!

    • Alternative Versionen
      There is a short version of the film, with a running time of 66 minutes, prepared for a 1949 reissue.
    • Verbindungen
      Featured in Casablanca (1942)
    • Soundtracks
      Pack Up Your Troubles in Your Old Kit Bag and Smile, Smile, Smile
      (1915) (uncredited)

      Music by Felix Powell

      Played on harmonica by Wallace Ford

      Played also in the score

    Top-Auswahl

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    FAQ18

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    Details

    Ändern
    • Erscheinungsdatum
      • 1. November 1966 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Der vermißte Spähtrupp
    • Drehorte
      • Buttercup Dunes, Imperial County, Kalifornien, USA
    • Produktionsfirma
      • RKO Radio Pictures
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    Box Office

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    • Budget
      • 254.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 13 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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    Boris Karloff, Reginald Denny, Wallace Ford, J.M. Kerrigan, and Victor McLaglen in Die vermißte Patrouille (1934)
    Oberste Lücke
    By what name was Die vermißte Patrouille (1934) officially released in India in English?
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