Der Schlüssel

An extraordinary movie in every way, from the combat scenes, which are so lifelike as virtually to constitute a documentary, to the superb acting by every single member of the cast, including each of the supporting players. But the very highest praise must go to Sophia Loren's absolutely stunning performance (not to mention her uncanny command of English at so early an age). Her quiet, dignified, and restrained interpretation of her very unusual and extremely demanding role is simply in a class by itself. I have never been able to get her graceful performance out of my mind. This is one of those movies of great merit, bewitched from the start, that simply disappear from public and critical consciousness---never to be recalled or mentioned even when, for example, the careers of Loren, Holden, or Trevor Howard are discussed. It is as if it were never made at all. A great shame.

This excellent film comes within director Carol Reed's golden period that began with 'Odd Man Out' in 1947 and ended with 'Our Man in Havana' in 1959. Any director, even one in the same class as Reed, requires a good script to interpret and here he has a superlative screenplay by Carl Foreman based upon the novel 'Stella' by Jan de Hartog which deals with the incredible bravery of tug crews whose job it is to rescue damaged ships in a stretch of the Atlantic known as 'U-Boat Alley'.

William Holden and Trevor Howard play tugboat captains and Sophia Loren plays Stella with whom their fates are inextricably linked. She is regarded as a 'jinx' to the ill-fated men who have in their turn been given the key to her apartment. The question is will Holden's character suffer the same fate.....?

Loren gives a beautifully sympathetic and understated performance, one of her finest actually. Holden never disappoints and Howard whose film career owed a great deal to Reed, picked up a BAFTA. Mention must also be made of Oscar Homolka and Bernard Lee. The editing by Bert Bates is exemplary, especially the suspenseful battle sequences, while Malcolm Arnold's score is powerful without being overpowering. Of the two endings that Reed was obliged to shoot the one here is far less happy but far more dramatic.

As a master (captain) of salvage tugs I can attest to the incredible reality of the shipboard scenes. I have seen no other film that rivals the scenes shot at sea for this film. I found the film riveting for both the action at sea, and the drama ashore.

The plot develops as the characters develop. Will the ship complete her mission? Will the captain return to the apartment? Will the characters overcome the obstacles before them, both emotionally and physically?

Trevor Howard is the perfect old salt, full of bravado, yet terrified.

William Holden, the optimistic American.

Sophia Loren played the role of Stella perfectly! She is the despondent, cynical, war shocked shell in whom we are drawn to share William Holden's hope.

I was mesmerized to the end.

Sophia Loren shines in a rather somber role as a woman in England who obstinately attaches herself to British naval officers that are involved in some of the most dangerous assignments in the war. Their job is to try to rescue the crews and cargo of ships that have been destroyed by Nazi ships or submarines. Since the Nazis know exactly where the battle took place, they know where the rescue ships are going to be, so the death rate among the rescue teams is very high. The great Trevor Howard gives a wonderfully understated performance, and William Holden also holds his own very well. The film is rather slow, though I prefer to call it casually paced. The wartime atmosphere of southern England is illustrated with good detail, and the action sequences are well-choreographed and suspenseful. It's not a great film, but I prefer it to most of those 'stiff upper lip' wartime melodramas that England and Hollywood produced in the forties.

'The Key" is a good movie but I sometimes wonder why so many films are made with wartime psychological themes. Probably it is simply because authors and film makers find wartime a ripe territory for drama. I have two problems with this. First, it is just too blatantly obvious that wars cause intense emotions and psychological issues. Wars always cause heroic but also desperate and aberrant human response. Second problem- war fighting is necessarily a morbid process.

Carl Forman's hard hitting style is applied to the emotional swamp that is wartime psychology in "The Key". Fortunately it is an extremely well acted film with excellent performances, and also features well staged Atlantic ocean battle sequences with real ships on the bleak, menacing North Atlantic. Wide screen black and white filming is excellent for the Atlantic war action and it is a fact that color filming is not necessary here. And black and white suits the downbeat nature of this story which will of course include nothing sunny or upbeat.

"The Key" is a serious, relentlessly grim drama that will probably hold your attention despite being a little slow in spots. Malcolm Arnold contributes one of his masterpiece film scores. Arnold was a genius.