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Having lived in England at the time this movie depicts, I can attest to the absolute authenticity of its content. The characters were those I met every day during those awful years of turmoil. I am also advised by my husband, an ex-paratrooper, that this movie was used as a training film for all recruits, because of its strict adherence to actual army conditions in those days. The main joy for me in watching this film is the group of actors who were so familiar to all of us during those years. From Stanley Holloway (later so famous as Eliza Doolittle's father) to Jimmy Hanley, the handsome, easy-going boy-next door, and all the others in that wonderful ensemble cast - they all appeared in many different movies and were always welcomed as old friends whenever we saw them on the screen.

I really can't understand some of the more negative comments from some reviewers from the USA about this movie. For me, it is far superior to equivalent American wartime propaganda movies (including enjoyable but hardly realistic efforts such as 7 Graves To Cairo and Sahara), and made and acted by a British cast who were serving servicemen as well (unlike a certain J. Wayne or H. Bogart). Carol Reed gives us on the surface a cliche ridden movie but his gritty visual style which would become his trademark plus a script that still gives depth to a by now familiar concept lift this way above other movies made at the time.

The soldiers don't look pristine and for most of the time, don't act heroically until the last 5 minutes. They're not an elite unit (as in Sands of Iwo Jima), they grumble, complain and stagger their way to the front lines but nor are they goofballs, pranksters or loveable rogues. They are ordinary men in difficult times, which was what the film makers wanted to show. They are not all broad stereotypes either; some, like the characters Davenport or Brewer, may on the surface seem like the upper class toff and the cheeky cockney but again, the way they interplay with the rest of the cast, they become more than just representatives of their class.

For an old war movie, I was impressed with the action. Early on, when the two old soldiers are talking about how much better it was in the army in their day, we get a juxtaposed montage of David Niven in training, showing how hard it is. A lot of the burning troop ship shots are done hand held, which adds to the tension. The Tunisia scenes look very authentic and see how Reed indulges in rapid cutting, disorienting explosions and run down and dirty art direction. The only film that comes close to achieving this kind of grittiness in the war years is "Guadalcanal Diary".

Although it may appear simplistic to divide the work of great artists into three distinct periods, there can be no escaping the fact that this tidy and convenient way of classification actually works for the majority. In the case of the most significant British director of the immediate post World War II years, Carol Reed, the chronological view works surprisingly well. There is the fairly anonymous early period up to "The Way Ahead" of 1944, a glorious middle period from "Odd Man Out" to "Outcast of the Islands" - the subsequent "The Man Between" and "A Kid for Two Farthings", although less successful, belong to this period because of their stylistic affinity - and a third period where Reed reverted to anonymity possibly through the pressures of commercialism - how else to explain works as dull as "The Agony and the Ecstasy" and "The Running Man", which do not even look like Reed films. Certainly none of the other films in the first period compare with the sheer enjoyment and confidence of "The Way Ahead". Here the youngish director flexes his muscles, a little parochially perhaps, before taking centre stage with the great directors of that time, De Sica, Rossellini, Welles and Wyler. Technically the film is astonishingly assured. Every shot is lovingly composed with figures always formally balanced within each frame. The editing is nothing short of brilliant. It is only in retrospect and with the advantage of several showings that one realises that the excitement and immediacy of a scene such as the torpedoing of the troopship are entirely achieved by the skill of montage. In every sense "The Way Ahead" is immeasurably superior to the Lean/Coward naval counterpart "In Which We Serve" which parades class distinctions in a way that is positively nauseous. There is nothing patronising in Reed's presentation of a group of men drawn together by the accident of war. Although they come from different social backgrounds, Reed presents them as conditioned by their varied forms of employment rather than being pigeonholed by class. "The Way Ahead" is that very unusual thing, a completely upbeat war film. I suppose it had to be, given its date - 1944. With the scent of victory about to be achieved it had to be an optimistic morale booster. However it goes very much further than any other I know in presenting a completely sanitised war. Not a single character is killed let alone wounded - and this even after the ship carrying the bulk of the cast is blown to smithereens just seconds after the captain leaves. The film ends with the men attaching bayonets to rifles before marching forward into a desert attack. By now we are conditioned into thinking they will all survive although we will never have a way of really knowing. Not that it matters at this stage. So sit back, relax and enjoy as lovely a war as you are ever likely to experience.

This is a good film that was intended to bolster morale during World War II. The cast is very good and headed by David Niven. This is a story primarily of 8 men of different backgrounds who survive their basic training and end up driving Rommel out of North Africa. The film is primarily about how men develop character when push comes to shove and there isn't a whole lot of action. Good story and worth seeing for the strong cast alone.

This is a film about a seemingly run of the mill sort of group. After the Brits were involved in WWII and saw how bad the going would be, the government was forced to draft men who would traditionally have been exempt. Men who were a bit old or involved with careers that might be deemed 'useful' to the effort were suddenly being called to duty, as times were dire. The beginning of the film shows these men being selected for service.

Unfortunately, this is a rather motley group and they tended to complain quite a bit as well (mostly by Stanley Holloway's character). How they could become a productive unit seemed pretty doubtful and I doubt if such an unimpressive group of men would have been used as actors had this propaganda film been made a few years earlier--when things looked really bad for the British. However, now that the war was appearing win-able, I can understand the choices of actors.

There is nothing particularly magical about any of the film--their selection, their training or their combat experience in North Africa. However, all of it was very well handled and excelled because they tried to make it believable--normal, everyday men rising to the occasion. In many ways, it reminded me of a landlocked version of "In Which We Serve"--with fine acting and writing instead of jingoism and super-human exploits. Very well done.

There are a few interesting actors in the film. Peter Ustinov is in his first film and he plays a French-speaking man. While his French isn't 100% fluid, it was decent and a bit of a surprise. Apparently, he was in real life David Niven's assistant in the British Army and somehow ended up in the film--and thus began his career. Also, Dr. Who fans will appreciate that the Sergeant is played by Dr. #1, William Hartnell.

By the way, this is a little explanation for those who are not British or familiar with British history. Early in the film, someone asks Stanley Holloway's character who he liked in Parliament. Holloway indicates the only one he liked was Guy Fawkes! Fawkes was part of a plot to blow up Parliament in 1605, but was caught and executed--and the Brits celebrate this to this day with Guy Fawkes Day--as day of merry-making, bonfires and fireworks! Obviously Holloway's character wasn't exactly fond of the government, eh?!