Die fünfte Kolonne

Robert Mitchum does not seem to be concerned about the situation .Ingrid Thulin (spelled Tulean (sic))does ,but it is a far cry from Bergman and Visconti.Genevieve Page is French and her best part in an English language movie is still to come : "the private life of Sherlock Holmes" by Billy Wilder.Another French thespian ,Jean Galland,has nothing to say and dies in the first sequence before collecting his money.The plot is complicated and undecipherable .Most of the time,we do not know why those people are bustling about and what they are looking for.When we understand the story deals with blackmail and former Nazis ,it's too late.Take "L'Affaire Nina B" by Robert Siodmak (1961) instead.That director knew what he was talking about.

"Foreign Intrigue," a 1956 film starring Robert Mitchum, starts out promisingly enough and peters out. Despite filming in color in France, Sweden, and Monaco, even the film's beauty can't overcome its slow pace and dull script.

Mitchum plays Dave Bishop, who works for an international man of mystery, Victor Danemore. Danemore dies of a heart attack suddenly, and Bishop wonders why every single person he encounters wants to know if Danemore said anything before he died.

Even after working for him, Bishop doesn't know much about him, but he endeavors to find out. He learns that Danemore went to Vienna once a year and goes there.

Danemore's home there is in a slum, his housekeeper is blind, and can only supply him with one name, Olaf Lindquist from Sweden. Bishop finds Lindquist's home, but the man himself is dead.

Bishop and Lindquist's beautiful daughter Brita (Ingrid Thulin) fall for one another; meanwhile, it's obvious her mother is keeping a secret.

Soon Bishop finds himself being followed by one man, Spring (Frederic O'Brady) who won't tell him who he works for, bad-mouthed by Danemore's widow (Genevieve Page) to Brita and her mother, and approached by a group of men who want the names of the men Danemore met yearly in Vienna.

First of all, despite compliments on the music, it was totally overbearing, not to mention loud and intrusive. If you liked it, fine, it was just too over the top for me.

Secondly, this film took way too long to make its point. In the beginning, it was intriguing, but then it began to drag.

Thirdly, we think we're going to find something out and guess what, after all this, we don't.

Robert Mitchum is laid-back and sexy as usual - in this instance, I can't tell if his persona helped the movie or hurt it. He was always a very deliberate actor and perfect for noir - I realize some people call this a noir, and perhaps it was, but the payoff just wasn't there.

It's hard for me to imagine Mitchum hurting a film - I think in this case, I'll have to blame the script and the fact that some time could have been edited out.

Promising start - disappointing finish - pretty to look at.

Foreign Intrigue (1956)

An underrated transition film, a low budget affair that is pure European color and style. Visually, it almost presages the Euro-American "Charade" which was decidedly more up budget. Here, the director, an unknown Sheldon Reynolds, takes advantage of all the empty spaces and long pauses the pace required. The lighting is flat, almost anti-noir, with widescreen grandness and yet an oddly impersonal intimacy. Not to be contradictory--the scenes are generally quiet, with close conversations, but everything is filmed from a certain, and constant, distance.

It is this steady, quiet pace that makes the film work. And Robert Mitchum. He needs no explanation. The first of the two or three main women he connects with is a bit false, but the main one is a caricature of the Nordic beauty, and with sincere energy and charm. At times it really does look like she is smiling at Mitchum, not his character, as if she can't believe she's touring Stockholm, etc., with this famous man, and the movie gets away with it. Mitchum for his part keeps his cool, except for the necessary fist fight once or twice.

It's 1956, and international intrigues like this are slowly rising into a genre of their own. People come and go, scenes are not what they seem at first, people have false identities and foreign accents. The big theme (too big to believe, but that's okay, it's supposed to be) is that realignment of global power after WWII. The real thing, made up of shadowy individuals who seem to be above nationality, and only know about intrigue, money, and winning at any cost.

I don't want to pump this up too much. It's slow at times, and the acting not always right on. The effects (the atmosphere, the fights, etc) are sometimes so archly false you can't quite accept it even as theatrical, but just a cheap. But that's the exception. Fall into the pace of it and it's not bad at all.

In order to review this movie, you need to put yourself back into the 50s when it was made. WW2 was just a decade before (closer than Desert Storm is to us), and the cold war was raging. Tales of spies, traitors, and exotic locations were just the ticket for mid-50s audiences. FOREIGN INTRIGUE has plenty of interesting turns and surprises, but it seems to be trying too hard to mix THIRD MAN with MR ARKADIN and perhaps a bit of WW2 Hitchcock (Sabotage, Foreign Correspondent?). I'm not a big Mitchum fan, but he gives his usual looming, low-key performance, and the supporting players do well. My real reason for watching this film (and I've been waiting over 30 years to catch it) is to see Frederick O'Brady, who plays the heavy (he was reviewed at the time as "out-Lorrying Peter Lorre."). He was my French teacher in 1973-74 at the Eastman School of Music and a great raconteur. He had enormous talent in music, languages, writing, and of course acting (having worked with Orson Welles in ARKADIN, plus Jean Renoir, Roger Vadim, and others). If you can find his autobiography ALL TOLD, you'll be fascinated. He told us that Mitchum tried to teach him to drive during the making of this movie, resulting in a wrecked car. Some thought this would be O'Brady's ticket to Hollywood, but instead French directors dropped him, assuming he would be asking too much money for "lowly" French pictures. He spent many years on stage and never had another juicy film part like "Spring" in this picture. If you enjoy the spy genre and aren't in a big hurry for lots of blazing action, find this movie!

The musical score almost makes it unwatchable. The same transition music throughout the film consists of a tom-tom and Gilligan knocking on a coconut with two wooden dowels. It's enough to cause a coma. That being said, the rest of the film's attributes out-weigh the migraine-inducing music.

Mitchum is classic, using his debonair best to woo admirers of his old-school, Hitchcockian style. (Wonder why Hitchcock never really used him?)

The cinematography uses the 1956 color like an oil painting, still incorporating the contrast and shadows of a black and white noir classic.

It's worth a watch.