París llama

Ach du leiber! Those stupid Nazis are at it again. "Paris Calling" is an early (1941) French Resistance movie made in crowd-pleasing fashion, depicting a French underground group in Bordeaux vs. Some two-dimensional bumbling Huns. Here, the French become preoccupied trying to hustle downed Canadian flyer Randolph Scott off to England before the Germans find out who he is. They picked the right villains, in Lee J. Cobb and Basil Rathbone, who do their despicable best - and in this corner, aiding and abetting Our Hero, are Elizabeth Bergner and Gale Sondergaard (honest!). Much of the action takes place in Sondergaard's tavern, a hotbed of underground activity.

It's all pretty exciting and tense (especially scenes between Bergner and Rathbone), but there are several glaring plot holes and loose ends which prevent a higher rating, unless you are young enough not to notice. Randolph Scott had matinée idol looks but was essentially a lightweight as an actor, and here he has to carry too much of the picture. Thank goodness for Elizabeth Bergner and, especially, Basil Rathbone, one of Hollywood's best supporting actors. "Paris Calling" is a very likable picture of its type, just don't ask too many questions.

7/10 ******* - Website no longer prints my star ratings.

Elisabeth Bergner is a rich member of Parisian high society. Minister Basil Rathbone, who loves her, comes to her party to tell her that the Nazis will be in Paris that evening. Pack her stuff and head to her villa in the south of France. She starts out, but her mother is killed on the road, and she returns to Paris to join the Underground, and incidentally help downed RAF flier Randolph Scott.

This is the first movie I have seen Miss Bergner in that was not directed by her husband, Paul Czinner, and she gives half a good performance; as a society featherbrain she is fine, but her way of playing a serious woman is to be frozen-faced and speak her lines without emotion. Released three days before Pearl Harbor was attacked, the producers were joining the rest of Hollywood in offering propagandistic entertainment that supported the British and Free French, with an orchestral version of the Marseillaise to cap off the effort. However, despite some good actors in supporting roles, including Lee J. Cobb as a Nazi, Gale Sondergaard, and Elisabeth Risdon, this never exceeds programmer levels.

Clearly Elizabeth Bergner wasn't thinking of posterity when she did her one and only Hollywood film. As a person of Jewish background who had the good sense to flee the Nazis in the early Thirties I'm sure she felt that doing this film about the early French resistance movement was patriotic in some way. Patriotic maybe, but bad and not a product that wears well, no doubt.

In Paris Calling Bergner is an entertainer in love with Basil Rathbone an official of the French government. What she doesn't know, but finds out is that Rathbone has been a collaborator for years plotting to bring the Nazi ways to France. He's not even a collaborator after the fact of the invasion. In other words, a traitor and a rat. It doesn't help that Bergner's mother is killed on the way to Bordeaux where the French government and Rathbone have fled.

Though it takes some time for them to accept her Bergner becomes quite the resistance worker. She's aided and abetted by downed RAF flier Randolph Scott, an American in their Eagle Squadron.

Watching the film I was convinced that I was seeing a routine World War II era flag waver. But at the end when a mass escape of resistance fighters is affected after the Nazis have discovered them I just said to myself this was way too much. I had always considered Errol Flynn's escape in Desperate Journey was the ultimate in Hollywood lunacy, but this one may have topped it. I won't reveal a word, you'll have to see it evaluate for yourself.

For her fans in Europe who might have got to see this after the war this had to be a painful experience. Equally so for fans in the English speaking world who saw her in Escape Me Never, Catherine The Great, or As You Like It.

I'm sure Bergner wanted to forget it and it may be why she never did another Hollywood film.

There are many familiar faces here. Gino Coraddo once again plays a waiter. Eduardo Ciannelli gets to play a good guy for a change. Elisabeth Bergner in the lead is devoid of any personality. On the other hand, Gale Sondergaard is wasted; she has almost nothing to do. It would have been interesting if their parts had been swapped. Basil Rathbone is fine, but Randolph Scott is a bit too--and too constantly--flippant as an American pilot. Some of the scenes are a bit jumpy, whether due to bad direction and/or bad editing.

"Paris Calling" is an American film brought out after WWII started but only a few days before the USA joined in on the war in December, 1941. It's an unusual movie in that few American films had been brought out at this point that were pro-Allies. Most of the movies from 1939-1941 barely mentioned the war...and some of this was due to a ridiculous neutrality law which seemed to prevent studios from taking sides in WWII. But by 1941, several studios had started making anti-German movies, as it was hard to ignore the German actions during the war...and it appeared as if the US would eventually enter the fray.

The story begins during the fall of France in 1940. A well to do woman, Marianne (Elisabeth Bregner) is fleeing Paris with her mother, but when her mother is killed by Germans, she decides to return to Paris and joins the Resistance.

At the same time, American Royal Airforce volunteer, Lt. Nick Jordan (Randolph Scott), is stranded between the lines. Instead of trying to escape to Britain or some neutral nation, Jordan joins up with the Resistance as well. You know that eventually the Lieutenant and Marianne's paths will cross.

In the meantime, Marianne's fiance, Andre (Basil Rathbone), is cozy with the Germans...and eventually Marianne realizes that Andre has been working with the enemy for some time...well before the war began. So she does what any good, loyal Frenchwoman would do....

This is a modestly entertaining propaganda film...enjoyable but also easy to predict. No among Scott's better movies, but still worth your time.