Contraband

This is a follow-up to THE SPY IN BLACK (1939) - utilizing the same director, writer and stars - and even better! It's described as a Hitchcockian comedy-thriller - though still every bit an "Archers" product - which only goes to show that the Master Of Suspense lost something by going to the US (the English films being more deliberately stylized); the second of 5 collaborations by the Powell/Pressburger team designed as propaganda for the war effort - each more ambitious and uncharacteristic of the typical British effort than the one before!

It's fast-paced and plot-packed, with several marvelous suspense scenes, but also excellent characterization all around - and a splendid cast: Conrad Veidt and Valerie Hobson are supported by a wonderful dual role from Hay Petrie, Esmond Knight, and even early villainous turns by Leo Genn and Peter Bull (dubbed "The Brothers Grimm" by Veidt's Captain Hans Andersen!) - with bits by Torin Thatcher and an especially nice one involving Bernard Miles; The Archers also take care to provide the chief villain (played by Raymond Lovell) with a speech impediment - though not as a means of ridiculing him.

The London locations (shot by the great Freddie Young) are superbly deployed - given an extra Expressionist edge by being largely set during a blackout (actually, the film's title in the US). The Archers would come to be known for their occasional drop in taste, already evident here in an interracial cabaret number entitled "White Negro"! The terrific climax involves a chase intercut with a free-for-all.

I had long wanted to purchase the R1 DVD but kept postponing it due to the utter lack of extras and the prohibitive price (only managing to get it through Deep Discount's recent sale on Kino products!); still, the transfer is disappointing (and yet the only way the film is available for the moment!): bright, soft and probably PAL sourced (given that the running time is only 87 minutes against the official 92 - the sleeve notes thus making the mistake of stating that it's 8 minutes, rather than 12, longer than the version originally shown in the US!).

I bought this movie because it was directed by Michael Powell, scripted by Powell and Emeric Pressburger, and starred Conrad Veidt and Valerie Hobson (a great important British director/producer/writer and two great stars). I knew this hailed from just before Powell & Pressburger hit their stride as THE ARCHERS. Boy, what a pleasant surprise; this is FIRST-RATE suspense/spy thriller which takes place in the early days of wartime Britian but before Pearl Harbor. It's about a Danish sea captain who's forced to follow two missing and suspicious passengers while his ship is being temporarily held by the British. What follows is a spy mystery through London during the days of Blackouts....and is ever bit as clever, amusing and suspenseful as any of Hitchcock's superb British sound films. I URGE you to check out this great and little seen British film classic.

... from British National Films and director Michael Powell. Danish merchant ship's Captain Andersen (Conrad Veidt) is irritated enough when his ship is ordered into dock for inspection for contraband by British authorities. It only gets worse when two passengers, Mrs. Sorensen (Valeriea Hobson) and Mr. Pidgeon (Esmond Knight), sneak off the ship. Captain Andersen tracks them down through the darkness of London in an enforced blackout, only to end up targeted by a Nazi spy ring.

There's a light-heartedness that runs through this entertaining thriller. Veidt, cast against type, is good as the put-upon ship's captain that just wants to get back home. Hobson is excellent as the mysterious Mrs. Sorensen. Some of the comic relief bits with Hay Petrie in a dual role can get a bit long, but it's not too awful. Contraband was the original British release title, which was changed to Blackout for the US market, as well as having 12 minutes shaved off the running time.

"Contraband" is a Powell/Pressburger collaboration, and a lot of the techniques they use are reminiscent of later films, such as the 49th Parallel and "The Red Shoes."

The story concerns a Dane, Captain Anderson (Conrad Veidt) on a freighter that is stopped for inspection by a British warship. He asks for passes for himself and his first officer, but when he is ready to leave, he finds that the passes have been stolen by two passengers, Mrs. Sorenson (Valerie Hobson) and Mr. Pidgeon (Esmond Knight). He rows to shore and finds Mrs. Sorenson and decides to stick to her like glue. Before long he's involved with a German spy ring.

This is a good film with both Veidt and Hobson giving wonderful performances. They have good chemistry and the script gives them the opportunity for some repartee.

The background of the movie is interesting. One message was to to elicit compassion from the Scandinavians, as they emerge here as the heroes. Obviously it was before Denmark was invaded, and the British hoped to have their help.

The last scenes are quite exciting. This doesn't come up to a 39 Steps but it's still enjoyable.

Early British Wartime Effort from Director Michael Powell. It has a Light Touch with Some Amazing Noirish Flourishes. A Male-Female Team of Conrad Veidt and Valerie Hobson are Thrown Together Against Some Nazis and the Adventure Takes Them Through London Blackouts and Underground Cement Caverns with Secret Entrances and Ominous Elevators.

Beneath Nightclubs with Gaudy Fashions and Cuisine and Floor Shows Like "White Negro" that are Quite Bizarre, as is a Musical Group of Female Banjo Pickers with Artificial Glass Legs. It is All Rather Surreal.

Our Heroes get to Engage Banter with Some Sexual Innuendos and a Bondage Scene as They Combine Efforts for an Entertaining Romp that May be a bit Heavy on the Humor but the Thing Works Wonderfully.

It is Michael Powell's Inventive Camera Work and Expressionism that Makes this Stand Out and One can See that the British were Developing, as were Their American Cousins, a Seemingly Unconscious Style of Filmmaking that would Become Known as Film-Noir in its Various Degrees of Genre Bending and Definition.