Portrait from Life

My partner and her mother were extras in this film , although she seems to think it was originally called "portrait of Hildgaard".It was filmed near to us at a place between Lepe Beach and Langly near Southampton England. The scene was filmed at a disused army camp.

If anyone has a copy of this film on VHS video we would be interested to hear from you.

Unlike many 1940s movies, this film came from over with crisp dialogue so I did not have to turn the volume control up to listen to the screenplay.Even my wife noticed it had good sound production standards.Guy Rolfe an army officer in 1946, to kill time sees a portrait in a forces art gallery and makes the acquaintance there of the Jewish father of the girl posing for it, (Mai Zetterling).As he has just been jilted, he has time on his hands as the army has given him temporary leave from his army job in Hannover, Germany.

Fascinated by the portrait, he sets out to find the girl from the masses of "DPs" (displaced persons) in Europe who were stateless at the end of WW11 and placed in special camps by the allies.I also liked hearing authentic German spoken by the cast which included Herbert Lom at the beginning of his film career.As there is a surprise ending I will draw a veil over my comments so as not to provide a spoiler.A good production which held my interest to the end.7/10

Guy Rolfe is "Major Lawrence" (another one), who sees a portrait of a young girl at a London art gallery and is enthralled. On further investigation he discovers from her refugee father - who recognises his long lost child from her picture - that she is a Jewish lady and is probably still in a post-war settlement camp somewhere in Germany. He sets off to track her down, discovering when he does find her that she "Hildegarde" (Mai Zetterling) has amnesia and can remember little. Not only that, but she has been "adopted" by Herbert Lom ("Hendlemann") whom she genuinely considers to be her real father. Further digging by "Lawrence" reveals that the painter "Reid" (Robert Beatty) and her may have had some sort of relationship and that her pseudo-father has a pretty big secret of his own. Terence Fisher does well to get anything out of the usually wooden Messrs. Rolfe and Beatty, but Lom is super as is the gorgeous, sylphlike Zetterling who portrays her character with considerable delicacy and skill, especially when things turn a bit more perilous for her as Lom realises that her amnesia may be easing and that his secret might not be as secure as he had thought. It's an unusual film, this - the story is gentle and poignant, and the pace is more measured than slow, with a good score from Benjamin Frankel to help build to quite a surprising denouement. Rarely seen nowadays, but well worth 90 minutes of your time if you encounter it.

Guy Rolfe, plays an army officer, on leave from occupied Germany, who visits an art gallery and is immediately captivated by the image of a young girl who he sees in a painting. The young girl's father, who happens to be a Jewish professor, realises Rolfe's interest, which prompts him to tell him that the girl in the picture is his daughter, who he hasn't seen since they were both incarcerated in different German concentration camps. Rolfe makes it his mission to see if he locate the missing girl when he flies back to Germany after his leave had expired. Strong performances from Guy Rolfe, Herbert Lom playing the sinister 'alleged' father of the girl in the picture and Mai Zetterling as the 'missing girl.' The film has a very involved storyline which constantly twists and turns, but sometimes rather too much, with the result that's easy to lose attention. Nevertheless, the acting is top notch, and watching Herbert Lom and Mai Zetterling is always a joy. It's also a worthy film since it highlights the problems of liberated prisoners of war and refugees who are trying to rebuild their relationships as well as their lives in the immediate aftermath of WW2. Summary: Interesting and well acted drama

What drew me to this film was its focus on the lives of some inmates of the Displaced People's Camps in Post WW2 Europe. Its depiction, though considerably cleaned up for the consumption of the movie-going public, illustrates some of the key elements in DP camp life. The plot focusses on the attempts of a British Officer in Occupied Germany to help an amnesiac Concentration Camp inmate regain her memory. Unknown to all, a wanted Nazi war criminal is using her amnesia and the names of an exterminated Jewish family to escape Justice.

Typical for British dramas of the period, though not as excruciating as some, there is plenty of "British reserve" in Guy Rolfe's role. The consistently understated (or absent) emotion is a bit difficult for today's audiences. Also "Hildegaard", the amnesiac, seems to fall in love at the drop of a hat which, given her circumstances, I found to be quite neurotic. I'm not sure that this would have been the intention of the director.

The film's street scenes also give some fleeting insights into London's appearance in the late '40's.

On the whole I'd say it would be a worthwhile film to catch if you had a particular interest in the period.