Peligro a fondo

Background to Danger (1943)

** 1/2 (out of 4)

Propaganda piece from Warner with an all-star cast to take us home. George Raft plays an American who meets a strange woman (Brenda Marshall) on a train and soon finds himself being chased by Nazi agents. Turns out there's a German (Sydney Greenstreet) in Turkey who is trying to get the neutral country to join the Nazi party and it's up to Raft to try and stop it. Considering the fact that our country was at war, all these WWII pieces coming from Hollywood was understandable but one wishes a little more time was spent on their screenplays. This one here was apparently written in 1937 but then updated to add in the Nazi plot but very little else was actually done. There were times when the story seemed to forget where it was going as it's pretty much all over the place and the actual going ons are rather boring and not that believable. The "background" in the title is exactly what the film needed because it's like we're put in the middle of a story yet we're never given any idea of how it started or why. In the end, the story comes off rather weak and rushed. Another problem is that the producer's were obviously trying to cash-in on the recently released CASABLANCA. Thanks to TCM you can watch countless movies that have been forgotten or overlooked the past few decades and it's rather amazing to see how many times Warner went to the CASABLANCA well in such a short period of time. The film does benefit from a rather short running time, which helps keep things moving. The main reason to watch the film is because of its attractive cast with Raft leading the way as our tough talking hero. Raft is pretty much what you'd expect from him as he walks hard and punches even tougher. The screenplay does allow him a couple good one-liners, which he puts to go use. Greenstreet is brilliant as usual and even though he's playing a Nazi you just want to love the guy. Peter Lorre plays a Russian spy and manages to mix it up with the rest of the cast quite nicely. Marshall, on the other hand, left me pretty cold as I never cared for her character or the performance. I'm not sure if she was just bored by the material or if Walsh wanted her to act this way just there's just no life to her. This is far from a horrible movie but there's just not enough heart and soul to carry the thing and in the end you'll feel as if you've seen this story several times before and in much better quality.

I liked this film although there were certainly many better for the time. It is the usual war time movie without being too much like the rest.

How can you go wrong watching Sidney Greenstreet and Peter Lorre together? Greenstreet is simply magnetic, and I was stunned to find out he debuted in films with Casablanca only a year before.

I kept thinking during the movie how much better it would have been with someone else besides Raft in the title role, he is pretty wooden. I am not sure where his performance ranks with his other roles. I hope they were better but doubt that they were. I don't watch many of them normally.

Brenda Marshall provides window dressing mostly and the ending smacks of a cheap knockoff attempt, but the rest wasn't too bad.

During the Second World War years, Hollywood found in the European-intrigue novels of Eric Ambler a pliable resource for converting into thrillers that beat drums for the anti-Axis cause. So, like tanks off an assembly line, rolled Journey into Fear (1942), Background to Danger (1943) and The Mask of Dimitrios (1944). They benefitted from name directors – respectively, Orson Welles (at least in part), Raoul Walsh and Jean Negulesco – but none of them is particularly remarkable; they're not much more than shortish propaganda programmers.

Background to Danger reunites the sinister but winning Warner Bros. team of Sydney Greenstreet and Peter Lorre, but, instead of the expected Humphrey Bogart as plucky hero, plunks George Raft down in a strange land, this time Turkey, strategically situated at the convergence of the Middle East, the Balkans and the Soviet Union. The plot involves forged maps which Nazi agent Greenstreet hopes to use to foment a panic about plans to invade Turkey by the U.S.S.R., then an Ally, hence destabilizing the region and the balance of power. But Walsh forgoes the depth that a geopolitical perspective might have lent in favor of bombs and handguns, captures and hair's-breadth escapes.

Raft's wooden affect sometimes paid off in the noir cycle (Noctune, Red Light) but here his gaudy patter only makes viewers wish for Bogart. And while Greenstreet reprises his polished, blustering heavy, Lorre gives a droll, airy performance that verges on the comic (clearly, unlike his Gargantuan partner, he didn't take to type-casting). Raft's love interest, playing Lorre's sister, is Brenda Marshall, a.k.a. Mrs. William Holden or Ardis Ankerson, by all accounts a difficult woman but, judging by Strange Impersonation and her few other movies, not a negligible presence. Turhan Bey shows up as Raft's native sidekick, à la From Russia With Love. He brings a final touch of authenticity to the back-lot Ankara and Istanbul, which Walsh, to his credit, takes care to make more vivid than just generically exotic.

It's now part of Hollywood lore how George Raft immeasurably aided the career of Humphrey Bogart by turning down High Sierra, The Maltese Falcon and Casablanca. After the last one I guess Raft thought he'd go for a Casablanca type story and the film of Eric Ambler's Background to Danger seemed like a good bet. If working with Sidney Greenstreet and Peter Lorre worked for Bogey...........

Background to Danger only confirmed Raft's wisdom about trying to stick to what he could handle. Had he been in Casablanca, the film today would be a routine action adventure picture not the cinema classic it is.

According to a biography of Raft, Peter Lorre was stealing scenes all over the place and blew cigarette smoke in Raft's face causing him to lose concentration. After repeated requests to stop doing it, Raft clocked Lorre on the chin and that settled the problems they had. On the set that is, on screen Raft registers no presence at all with his fabled co-stars.

Raft is an American agent, Greenstreet a Nazi, and Brenda Marshall and Lorre are a brother and sister team of Soviet agents all looking for a forged document about false Soviet invasion plans for Turkey. The action starts in Turkey's capital of Ankara and ends up in the city of Istanbul.

Background to Danger had to be the first American made film based in Ankara. Before the overthrow of the Ottoman Empire, Ankara barely passed for an oasis. Mustapha Kemal selected it for his capital because of its central location on the Anatolian peninsula. The city grew exponentially between the wars and Turkish neutrality in World War II kept up the growth rate though the Ankara we see here is depicted on the back lot of Warner Brothers studio.

All the neutral capitals in the World War II years were good subjects for espionage films. Everyone of them could have been described like Ankara as a city of a thousand plots. Too bad a better film couldn't have been done here.

It's 1942. The main powers are trying to persuade neutral Turkey on their side. There is a bomb attempt on German ambassador Franz von Papen. It's actually a scheme by Nazi Colonel Robinson and it fails when the Russians show their airtight alibis. Now, he comes up with another scheme. Meanwhile on a train to Turkey, American businessman Joe Barton (George Raft) is taken with mysterious stranger Ana Remzi who pulls him into a world of espionage with Soviet spy Nikolai Zaleshoff (Peter Lorre) and his sister Tamara Zaleshoff (Brenda Marshall).

I love that I can't trust or distrust Peter Lorre at any time. The only thing that I can trust is that everybody has their own interest at heart. Lorre is the best part of this movie. He is stealing every scene he's in. There are evil Nazis. Raft is a functional everyman. The action could be better but it's par for the course in its time. The scheme is not nearly complicated enough. Quite frankly, fake news could be done in many ways. Overall, it's a solid wartime spy thriller.