El tren

The big star of Frankenheimer's film is the train itself... And the plot is based on the characteristic of railroads—engines and cars all over the tracks, cabs and steam—all shown on enough detail to keep the viewer in great suspense… The aerial strike shots are also wonderfully taken…

The film begins in Paris, August 2, 1944…

It's 1511th day of German occupation… The liberation of Paris seems very close…

Nazi Colonel Von Waldheim (Paul Scofield) decides suddenly to remove by train to Germany the best of Impressionist masterpieces… His objective is clear: "Money is a weapon. The contents are as negotiable as gold and more valuable."

Mademoiselle Villard (Suzanne Flon) informs the Resistance of the shipment…The Resistance reaction is to stop the train without damaging the national heritage… "They are part of France." But stopping the train is not a simple task… You can get killed especially if you are French and the train is German…

Labiche (Burt Lancaster), the Chief Inspector of the French Railway System, is not impressed… However, he never communicates his political, ideological, or nationalistic convictions, "For certain things, we take the risk," he said; "but I won't waste lives on paintings."

When an aged engineer, Papa Boule (Michel Simon), is accused of sabotage in spite of saving the train through the Allied's bombs at the risk of his own life, Labiche is forced into combat…

It begins with a long sequence where an armament train and the art train are both trying to leave the yard in the morning… As they are being moved back and forth across the tracks, the viewer knows that British planes will hit the yard in that moment at exactly 10:00 o'clock…

New complications are introduced, but the central conflict always returns to an obsessive art lover against a man with no appreciation for art… Labiche's only concerns is to slow down the Nazis keeping himself and his compatriots alive…

Now, two forces control the film… The first is Frankenheimer's cleverness to choreograph the real trains… Frankenheimer and his cinematographers capture the heat of the engines, the noise and sound of the cars in motion, the fault in the oil line, the crushing strength implicated when the machines come into collision and the derailment… The second force is Lancaster, the "headache" of the fanatical obsessed Colonel whose desire is to see the priceless paintings in Nazi Germany...

This is truly a riveting and original film. Filmed in glorious B&W with mostly a 28mm lens, this crisp and stark looking film never lets up in suspense and tension. Lancaster is at the top of his form and Paul Scofield steals the scenes he is in. The train whistle always jolts one out of his or her seat. I have every single video version of this film and I just never get tired of this film. I implore everyone to take this ride.

Absolutely riveting thriller, an American-French co-production, with a great cast, well-written plot and script - and great stuntwork. As with all of John Frankenheimer's work, it's an instantly classic masterpiece.

Burt Lancaster is Labiche, a French station manager who becomes entangled in efforts to prevent German Colonel Von Waldheim (Scofield) from shipping hundreds of classic pieces of artwork out of Paris before the Allies re-take the city.

John Frankenheimer has done an excellent job putting every aspect of great storytelling together. The most essential part is the characters. Lancaster is absolutely great as Labiche. While the French want him to simply delay the train, Labiche is always more concerned about the human cost. Eventually, so many men are killed in the attempt to delay the train that he takes it upon himself to save the artwork so they did not die in vain. On the opposite side, Scofield makes a very believable, maniacal officer. He is purely obsessed by art. He's not your typical Hollywood "Nazi" officer; here, his one goal is not eradication of the Jews or whatnot - it's to steal millions of dollars worth of paintings for personal gain.

The French are played, for the most part, by young native French actors. Michel Simon plays a grizzled old engineer who tries to take matters into his own hands, at first, when Labiche won't aide the cause. Albert Remy (IS PARIS BURNING?) and Charles Millot (THE BATTLE OF NERETVA) are Labiche's resistance sidekicks, both passionate in their rather minor roles. Jeanne Moreau (THE VICTORS) makes a pretty big impression as a hotel owner who gets caught up the fight and elects to help Labiche, even though it will hurt her business and put her life in danger.

In support, the cast is made up of some very fine young actors who would become mainstream faces in later European war movies. Wolfgang Preiss (THE LONGEST DAY) makes an impression as the German Major commanding a rail yard, who is just simply trying to keep his facility running well and doesn't want to deal with Von Waldheim. The great Richard Munch (PATTON) has one strong scene as a German general, who knows the front line battle is more important than Von Waldheim's art. Howard Vernon (FROM HELL TO VICTORY) is the German captain with glasses in charge of the train; Donald O'Brien (DEADLY MISSION) is a very mean-looking Sergeant keeping Lancaster and Remy in check; and Arthur Brauss plays the German Captain interrogating the stationmaster.

The second essential portion of the story goes to the purely technical side of the production. First of all, there are some truly spectacular action sequences. Most of them were done with real locomotives, on life-size sets with authentic explosions. One huge, three-way head-on-collision is awe-striking and must have marvelous to see on the big screen. Lancaster performs all of his own stunts; jumping from control towers, running and catching moving trains - all, one would think, would be difficult for a man of 51 - but Lancaster doesn't show a bit of strain. A good deal of the action centers around simply moving trains and equipment through railyards, and it's all portrayed with acute attention to authenticity and detail.

At key moments, Frankenheimer uses his typical unorthodox filming technique to give the action a new perspective. The camera zooms in on every day objects, which actually have key importance at that one moment. He follows Labiche down a hallway with a handheld camera simply because it's the best way of showing how he gets to where he's going. All of this is trademark Frankenheimer direction, and it gives the film a sharp, cutting edge to its already awesome plot. Sincerely, standard direction with all of the same elements would really lessen the impact of the punch every other element packs.

A few side notes: the scenery is great; each town, village set piece, actual location or open countryside looks just like 1944 France. Maurice Jarre's rousing music score is great and is quickly becoming one of my favorite war movie themes, ranking with the works of Jerry Goldsmith, Ennio Morricone, Elmer Bernstein and John Williams.

I saw this movie on Turner Classic Movies, letterboxed about 1.66:1. This is apparently a transfer directly from the DVD. The print is excellent: the black and white image is sharp, the sound is clear and appropriately loud; and there is hardly a scratch or speckle to be seen. The DVD is probably worth buying for the commentary track it holds, but I have not yet viewed the disc.

THE TRAIN is an instant classic from the Golden Age of cinema, with every element working perfectly.

RATING: 10/10

A nonverbal action movie that stars Burt Lancaster as a train operator trying to thwart the plans of Nazi operatives to move precious artworks from France to Germany in the last losing days of WWII.

John Frankenheimer directs in stark black and white, and the film has his trademarks all over it -- kinetic compositions, rapid-fire editing, ragged documentary look and feel. Paul Scofield also stars as the obsessed Nazi and Jeanne Moreau has a role as a French woman who reluctantly aids and abets Lancaster. The sheer physical production is astounding; in the days before CGI would have done everything for them, Frankenheimer and company staged massive set pieces involving bombed railroad yards, crashing trains, you name it. I can only imagine how much pressure the special effects guys were under to get everything right the first time because re-staging it for a second try would have been a bear.

"The Train" brought Franklin Coen and Frank Davis an Academy Award nomination for Best Original Story and Screenplay at the 1965 Oscars.

Grade: A-

Like everyone else who has posted here, I think this film is superb. Brilliant screenplay, excellent acting, exceptional directing, and so on and so forth. I think there is one little twist to the screenplay that deserves mention. Burt Lancaster has not one spoken line in the final 20 minutes of the movie. I can't recall ever seeing that done with a major character in a mainstream film. His actions ARE his words. In the final scene, we know exactly what he is thinking without him saying a word. A lovely subtle touch and the crowning moment in a truly great film.