El expreso Bagdad-Estambul

Nicely paced WW2 spy thriller with George Raft playing an American agent trying to stop a German plan to turn Turkey against Russia. It's an ill-fitting role for Raft but I can't say he was terrible. I always liked him, even if he could be a pretty wooden actor sometimes. This is the kind of role I could easily see Bogart playing, which is ironic considering George Raft notoriously turned down some of the parts that made Bogart's career, such as Maltese Falcon and Casablanca. This movie also marked the end of Raft's contract with Warner Bros, which effectively meant the beginning of the end of his days as an A-lister.

The fairly short runtime helps, as does the great supporting cast. Peter Lorre and Sydney Greenstreet are always worth watching. Lovely Brenda Marshall and Ona Massen are good, too. Perhaps I'm in the minority, but I thought this was a very enjoyable movie of its type. I'm sure if you dislike Raft you will find it tougher going than I did. If you're a fan of the cast or WW2 movies in general, I definitely recommend you try this one out.

Background to Danger (1943)

On the uncertain fringes of the European War are countries like Morocco, Syria, and Turkey, where the intrigues of diplomats and expatriates can become complicated and colorful, several movies were made about WWII. One of those, obviously, is "Casablanca," released to full distribution in 1943. And in this one we have Peter Lorre (as a shadowy character of course), Sydney Greenstreet (as a Nazi leader), and Bogart-wannabe George Raft, who takes the leading role.

Unlike Casablanca, however, this one, set in Syria and Turkey, is filled with action, chasing, fear, and trickery. The shadows are not glamorous and romantic, but dangerous. It's a Warner crime film adapted to the war. Raft plays an American archetype a little like Bogart would have, independent and a little sassy, though he is always more eager to be liked, both by the other characters and the audience.

Director Raoul Walsh is one of the greats of early Hollywood (he even assisted Griffith on "Birth of a Nation"). He makes this story intense, fluid, dramatic, and physical in the best ways. In particular, the huge range of sets and scenes (almost entirely on the studio lot) is impressive and effective. The camera moves, the light is harsh when it isn't pure shadow, and music swells and twirls, and most of all the characters are always on the movie.

The kinetic essence of the whole enterprise is in keeping with the first scary years of the real war, and that's on every audience member's mind. Unlike "Casablanca," set in the days before Pearl Harbor (though filmed after), this movie was planned and shot as the U.S. was already sending troops to Europe. The message here is clearly anti-Nazi, and desperate. Lorre is duplicitous and fabulous in his large role. The leading woman, Brenda Marshall, is no Ingrid Bergman, nor quite an effective action figure.

"I'm American. America's at war," Raft's character says halfway through. And Lorre lays out for him some of the complications of the real war, and how Russia is an ally with complicated intentions. And in a slightly opportunistic way, the movie makes clear that Russia (which is rarely called the Soviet Union, its real name) is a friend. It becomes clearer and clearer as it goes, until the last line of the movie nails it down.

A great movie this is not, but it's actually really good, worth seeing, a thrilling ride even if you have to swallow the kind of facile way the plot is kept intact at times. You can almost watch it for ambiance alone, as cinematographer Tony Gaudio pulls out the stops in the same way (visually) he famously did for Wyler in "The Letter." What Raft lacks in intensity Lorre makes up for in brilliance. Give it a chance.

International intrigue in hot spot Ankara, Turkey, during World War II is the center of this secret agent tail. Nasty Nazi Dr. Robinson (Sydney Greenstreet) plots to use lies in the press to push Turkey to ally itself with Germany against Russia. American Joe Barton (George Raft) is posing as a businessman when he falls into possession of falsified documents the Germans want printed in a sympathizing newspaper. Barton is soon mixed up with the Zaleshoffs (Peter Lorre and Brenda Marshall), a brother and sister claiming to be Russian spies who are after the same documents. Barton has trouble believing anyone, because they all attack him at various times and at least one of them is a cold-blooded killer. The plot had potential, but director Raoul Walsh did not seem to know quite what to do with a story of this nature and there is a complete lack of real emotion in the proceedings. He also seemed to be saddled with a low budget (the miniature train is painfully obvious). His three male stars all but play caricatures of themselves. Raft is all buttoned up and monosyllabic, Greenstreet is almost a cartoon, and Lorre chews the scenery and comes out best. Yet it is still a pretty good movie (if you can withstand being yelled out for the first five minutes and the overcooked musical scoring.) There is a great aura of suspicion over everyone, which leaves you guessing at everyone's connection with everyone else. There is also a great car chase, noir cinematography from Tony Gaudio that caresses Raft's closeups fondly, and some good visual bits that will make you smile.

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.