Juana de París

I have no problem with the casting of Mitchell or Henreid as Frenchmen, or Hans Conreid as a Gestapo agent. This was a generally engaging story of Allied flyers hiding out in German-occupied Paris in World War Two and their attempts to escape aided by Joan, played by the lovely and charming Michele Morgan. Watch for a young Alan Ladd in a small role. Stealing the show is the great Laird Cregar as the chief Gestapo agent. Cregar was a superb actor, but he must have tired of all the evil people he was forced to play owing to his weight; Henreid would get the girl and he'd get slapped. Cregar, a young man, went on a crash diet that apparently lacked needed nutrients - he died suddenly. And it was a shock and great loss to Hollywood, and to us all.

Paul Henreid (Paul) leads a troop of 5 British fighter pilots shot down over France by the Nazis. They must reach Paris and then find a way back to England. Father Thomas Mitchell is there to help in his capacity as a man of the Church, as is waitress Michele Morgan (Joan) who gets heavily drawn into the plot. Gestapo agent Alexander Granach is a constant menace throughout the film as is the more measured Laird Cregar (Herr Funk). Can the Brits stay one step ahead…..?

The cast are all good in this effort including May Robson (Mlle Rosay) as a contact in the Resistance. All are good with the exception of Alan Ladd (Baby)as one of the shot down pilots. What an idiot he is. He gets a scene in a sewer in which we are meant to sympathize. No chance. Thank God for that. There is also a cheesy scene with some children that is way over the top. The whole singing of the Marseillaise was done with far more impact in "Casablanca" from the same year. Those two scenes aside, it is a story that keeps you watching with a couple of sinister bad guys. They don't give up and are not so naïve as they come across as. Not everyone gets out of this one alive.

Joan of Paris is best known for the joint debut of both Michelle Morgan and Paul Henreid on the American cinema. Henreid is a member of the Free French flying with the RAF and he and the crew are shot down over occupied France. Henreid and the group including a wounded Alan Ladd make their way to Paris where he tries to contact either the French underground or any British intelligence operatives.

When Henreid came, he came to stay in America, becoming a citizen years later. Morgan made a few films and went back to France after the war where she resumed her star status. She and Jean Gabin are probably the two most well known French players who managed to flee the occupation and continue their careers on foreign soil.

Henreid displays all the charm later put to full advantage in Casablanca and Now Voyager. Their romance is tender and all too tragically brief. Like Casablanca, Henreid wants to get back in the fight. Morgan, who's patron saint is Joan of Arc, will sacrifice all to aid him.

The best performance in this film is that of 20th Century Fox loan out to RKO, Laird Cregar. Cregar, a clever and epicene occupier who's bulk suggests Herman Goering, is the relentless pursuer of the downed fliers. Alan Ladd scored a notable success as the kid flier although he tries at times to affect a British accent. They should have just made him Canadian as they did all the other American actors who played in British locations and situations. It wasn't as bad as Gregory Peck's in The Paradine Case though.

Joan of Paris is a good, but routine product from RKO, one of the minor studios. In her next film Morgan would be opposite that American icon making his feature film role debut, Frank Sinatra in Higher and Higher. Still she and Henreid acquit themselves well, albeit in a minor key.

This little known film released the same year as CASABLANCA is a minor gem among Hollywood's wartime romances, teaming Paul Henried and Michele Morgan very effectively in the leads. Despite some odd casting choices (Thomas Mitchell as a French priest) or Henried as a French squadron leader based in England, it tells an absorbing espionage tale of the French resistance against the Nazis.

Released by RKO, it seems more like one of the typical Warner Bros. melodramas popular at that time. Even some of the supporting cast seem like Warner contract players--notably John Abbot as a prisoner about to be executed and May Robson.

A tale of one woman's noble sacrifice to aid members of an RAF squadron in their attempt to return to England, it holds the viewer with its shadowy B&W photography and creates an atmosphere suggesting a French village during World War II. Paul Henried is excellent as the man trying to rid himself of a Gestapo agent who "sticks to him like a postage stamp".

Other notable roles are filled by Laird Cregar, as a cunning Gestapo who snares Henried in his trap, and Alan Ladd as "Baby", one of the downed flyers who is injured. Ladd was on the brink of major stardom and his performance here shows why--it's a brief but memorable supporting role. Shortly after this film, he was signed for his star-making role in "This Gun for Hire".

Well worth watching...an absorbing example of a well scripted and directed wartime espionage film with only an occasional false note that does no major harm to the movie. The scene with the children in the schoolroom lacks credibility throughout.

Celebrated French pilot Paul Lavallier (Paul Henreid) is one of the survivors after their bomber gets shot down. He is hunted by the Nazis and has been convicted in absentia by the Vichy government. He arrives in Paris and finds help from his former teacher Father Antoine (Thomas Mitchell). Cafe waitress Joan (Michèle Morgan) helps him to escape back to Britain.

This was released a couple of months after Pearl Harbor. One could see how this propaganda of heroism and self-sacrifice nails the zeitgeist of the times. By the title, the ending could be easily assumed. There are moments of thrills although I want more of them. Of course, there is a scene with La Marseillaise although Casablanca is a more emotional rendering. This is fine but there are better classics of its kind.