Rome Express

I always liked train movies, so I bothered to watch this one, on French TV. It was also an occasion to see Conrad Veidt, a very good actor, last seen in CASABLANCA. During the watching, I suddenly remembered the name of Bonar Colleano, the British-American star of the past-war era. From IMDB, I learned that he starred in another train movie, SLEEPING CAR TO TRIESTE (1948), and, to my great amazement, I discovered that the later was a remake of the former! sixteen years after... harrycarasso, Paris

I usually enjoy dramas set on trains and this is one of the earliest and one of the best. A major factor in its success is the adroit direction of Walter Forde, seen in the facility with which he introduces the protagonists against the station background and in the natural way in which the story is allowed to flow with very little contrivance, the overhearing of a conversation re the painting later in the film possibly being an exception. Surprisingly he did not appear to receive interest from Hollywood after this. Andrew Mazzei's sets are impressive and convincing. There are some memorable performances, not least Conrad Veidt, as a menacing villain who looks downright evil at times. Cedric Hardwicke as the mean-spirited philanthropist, Gordon Harker, playing against type as a middle-class golfing bore, Finlay Currie, amusing as the brash movie agent and Donald Calthrop as the treacherous little villain in fear for his life all make a vivid impression. In fact there is hardly a weak link in the cast. It is sometimes stated that Currie played the same part in the 1948 near-remake, Sleeping Car To Trieste, but in fact he took over Hardwicke's role as the wealthy bullying humbug.

I showed my Super 8 print of Rome Express to a small audience recently after a pause of 8 years and was delighted to rediscover how well scripted and tightly directed it is. This tale of theft, blackmail, murder and love moves at a rapid pace for a British film of its time, builds its characters and suspense admirably, and involves much fluid camera-work, excellent use of extras, and extremely thoughtful editing.

The various intriguing characters on the overnight train from Paris to Rome include a movie starlet who is tired of her publicity agent's strict regime of press stunts, a fence who is trying to get away with a painting stolen from the crooks who stole it in the first place, a millionaire who is only generous when its likely to get him in the papers, runaway lovers who don't want to be involved in anything or with anyone but themselves, a golf course bore, and a French police inspector on vacation.

It's delightful to watch the journey go gradually wrong for almost everyone involved, and in such a cleverly constructed way that it does full credit to writer Sidney Gilliat and former silent film comedian turned director Walter Forde. Scots actor Finlay Currie does a very acceptable American accent as the publicist (boasting of having been press agent to Tom Mix's horse), Conrad Veidt is supremely sinister and threatening as the art crook Zurta, Donald Calthrop is his usual creepy self as the cowardly fence on the run, and Esther Ralston is simply delicious in a variety of stunning 1930s outfits as jaded but very beautiful starlet Asta Marvelle. Yum!

This forerunner of many a classic train movie was acclaimed as one of the best films of 1933 and it's easy to see why – especially if you care to be kind about the model shots (more convincing than Hitchcock's) and some of the background scenery seen outside the train at night.

And of course the Gaumont British Lime Grove Studios reconstruction of the train itself is almost as attractive as Esther Ralston – but not quite. While its acting is rather wooden – hers definitely isn't.

Like the sumptuously luxurious train, this film is one worth waiting for and even gets a little steamy at times. The journey is pleasing, colourful and more exciting than the destination.

For a Brit flick of '32, this is surprisingly cinematic and stylish (and the granddaddy of train films) with excellent performances from Conrad Veidt, Cedric Hardwick, Finlay Currie and especially Donald Calthrop (best known as the squirming chiseller in "Blackmail") here an art thief on the run from partners Veidt and Williams.

Directed by the underrated Walter Forde this is a smart Hitchcockian piece with a good deal of suspense and humour, distinguished by stylishly nimble camerawork and excellent production design. As other reviewers have pointed out it does show it's age at times, with slightly muffled sound quality but provided you have patience with this it's good entertainment, and an interesting glimpse of the how the British acted abroad in those days.

Sidney Gilliat (of "the Lady Vanishes") had a hand in the writing and I could see themes and situations that would be developed further in future train movies.

The suspense builds throughout as Calthrop contrives to avoid his former partners one of whom, Veidt (in fine clipped form), has vowed to kill him. The sequence where Calthrop is literally presented to them, to be part of five in a round of poker, is a study in forced smiles and friendliness. Calthrop can't stop winning, much to the amusement of Veidt and the consternation of the others.

This is just the midway point of the film which also provides a great early part for Sir Cedric as a business magnet who appears philanthropic but in private is a stingy, deeply unpleasant individual, with little to differentiate him from the crooks. He is caught out though when his much abused underling discovers his dishonesty.

All in all an excellent vintage thriller

This is the great granddaddy of train portmanteau thrillers and Walter Forde,like Hitchcock, had a thing for trains - he even remade his now lost 1931 "The Ghost Train" and became a serious leading British Director. The production of Rome Express opened the large new Lime Grove(Gainsborough)studios in W London using two huge sets to accommodate both terminii & the impressive express. Conrad Veidt was a comparative newcomer to London from Germany escaping a future under the Nazis and stayed to make a number of other acclaimed 30s films like "Jew Suss" "Passing of the Third Floor Back" "Dark Journey" & "Under The Red Robe" until ending up at Denham with the Kordas. He loved Britain and loathed Hitler but this didn't stop his 40s performances as an assortment of nazi officials - "Escape" "Spy In Black" and,of course,"Casablanca". The popular Scottish actor,Finlay Currie played the same part in this and its almost shot-for-shot remake 15 years later at 70.He was probably best known as the convict,Magwitch, in the superb 1946 remake of "Great Expectations".