Espions sur la Tamise

During the war years, there were quite a few propaganda films--particularly ones about Nazi spies. While many of them become pretty difficult to distinguish from the others, this one stands out as a well made and effective film that will hold your interest.

Ray Milland plays a man who had been hospitalized for psychiatric problems. When he stumbles upon a Nazi spy ring, no one believes him despite his best efforts. So, after receiving no help, he is forced to take matters into his own hands for the good of the free world.

The acting and writing are first rate and the film doesn't get mired down in clichés. By the way, Alan Napier ("Alfred the Butler" from BATMAN) plays one of the baddies!

In an excellent suspense, Stephen Neale (as played by Ray Milland) finds himself in one precarious situation after another. His problems are compounded by the fact that he has just been released from an asylum and is warned upon his leaving not to get involved with the police again, for "a second charge would not be easy." Inadvertently, he does and it isn't! Very funny role played by Erskine Sandford as Mr. Rennitt, the detective who indicates the his private investigating is "a respectable business with a tradition. I'm not Sherlock Holmes." Anyone who enjoyed "The Man Who Knew Too Much" will find this film spellbinding. The last few lines of the movie make viewing a good movie even more fun.

Man released from mental hospital gets innocently involved with Nazis because of a cake.

There are more than enough compensations in this flawed thriller to keep viewers' eyes glued to the screen. But what I'd really like to see is the movie Lang wanted to make instead of this one, the version producer-writer Miller and the Production Code insisted upon (IMDB). Not that this version is unworthy, but it's not hard to see Lang's sensibility competing against Miller's turgid screenplay. Unfortunately, the scenes follow in no particular order, while the several genuinely good plot ideas (the many clever snares) lose impact because of murky development. Too bad there wasn't a streamlining re-write. Couple that revision with Lang's visual talents and a first-rate thriller of Hitchcockian proportions would have resulted.

At least producer Miller popped for some impressive sets to accommodate Lang's expressionist vision-- the very last scene may be the only sunshine shot in the entire 90- minutes,(the requisite happy ending). The narrative may be muddled, but several scenes are memorable—the sinister blind man, the frantic search for the cake, the final unmasking. Each shows an expert blend of form with content.

Unfortunately, the movie is also harmed by spotty casting. Milland is okay, but he is a better actor than he shows here, which is perhaps Lang's fault. A serious flaw, however, is Reynolds (Carla) who shows way too much American malt shop to pass as a European, even as the sister of the very European Esmond (Willi). Then too, I'm as big a fan of Duryea as anyone. But one thing he's not by any stretch is a British tailor. For that reason, it's probably just as well his part is surprisingly small. On the other hand, there's the stately Hillary Brooke (Bellane), always an impressive blend of brains and beauty, along with a very smooth and affable Carl Esmond, both of whom deliver in spades.

I wanted to like the movie more than I do. But, it's really a movie of parts rather than a satisfactory whole. With better casting and cogent narrative, the results could have been truly exceptional, instead of the flawed thriller it unfortunately is.

What a team! Graham Greene and Fritz Lang. What an actor! Ray Milland. What a movie! This one will stay with you for awhile. Though Greene did better work, i.e his masterpiece the screenplay for "The Third Man," and Lang did better work, "Metropolis, "M," "Fury." Together they make "Ministry of Fear" sizzle.

Today just about any movie from the 40's and 50's shot in black and white with darkness, rain, or shadows is labeled film noir. I don't really know if "Ministry of Fear" is a film noir as such but I do know it's great film making, somewhat along the lines of Hitchcock's "39 Steps." Ray Milland as Stephen Neale is mistaken for a go between espionage agent, called Cost or Travers depending on the circumstances, played to perfection by Dan Duryea. Neale guesses the weight of a cake as foretold by a fortune teller. Obviously the cake is valuable because immediately upon realizing their mistake the spy ring sets out to frame and kill Neale to retrieve the tasty morsel. Not to be missed is an exciting sequence aboard a train involving an alleged blind man. The rest of the movie filled with suspense, mystery, and intrigue involves Neal teaming with Carla Hilfe (Marjorie Reynolds--later of television's "Life of Riley" fame) and her brother to catch the culprits and discover what it's all about. Gradually Neal comes to suspect even Carla herself though by this time he's fallen madly in love with her. The feeling seems to be mutual. The denouement is a showdown between Neal and the spy ring which is exciting and a logical way to wrap up the movie.

Ray Milland walks off with the show even though the rest of the cast gives him able support. It's easy to see that Ray Milland was well on his way to winning the Oscar the very next year for his standout performance in Billy Wilder's "Lost Weekend." It was just a matter of time before his acting talent would be formally recognized. It's a good thing "Lost Weekend" came around for Milland for he never again played a role that so suited his abilities as an actor, though he still had many years ahead of him to be on the big screen.

The script is a witty one with many good lines. Though Lang's direction is good there are a few boring parts following the frame-up. A few more blind man type scenes would have helped tremendously. Still a very good espionage thriller of the old school with a title that reaches out and grabs you to make you want to see what the "Ministry of Fear" is all about.

The United Kingdom has long been the home of the spy thriller. While writers in the US like Dashiell Hammett and Raymond Chandler were turning out hard-boiled crime fiction, Britain had people like John Buchan and Grahame Greene writing adventuresome tales of espionage and political intrigue. In cinema too, the best director of spy thrillers was undoubtedly Englishman Alfred Hitchcock, and many of his early British films were in the genre. Ministry of Fear however was an American production, made by Paramount studios, and yet it is set in Britain and is adapted from a Grahame Greene novel.

Despite this complete independence from the famous British thrillers of the 30s (which weren't just Hitchcock's by the way, Michael Powell did a few, as did Anthony Asquith), you can see the similarities in theme and plot. As in The 39 Steps, The Man Who Knew Too Much and so forth, the hero is an ordinary citizen who is drawn into events by chance. He finds himself in a nightmare situation where anyone could be an enemy, and he even finds it impossible to prove his own innocence to the authorities. I stress all this to prove the point that these devices were not invented by Hitchcock, even if he popularised them and associated them with his name – they were established features of the spy novel.

Being a US production, and seemingly one unable to take advantage of the growing crop of Brit actors in Hollywood, the primary roles in Ministry of Fear go to Americans. Ray Milland was just starting to break through into important dramatic roles, and although this is far from as prestigious as the ones he would soon be getting, it does show off his talent for moulding a new persona. He does a passable British accent, in the days before getting these things right was considered important (cf. Errol Flynn pretending to be a yankee), and gives a realistic look of disorientation to the character which fits in nicely with his innocent bystander status. The only other standout from the cast is Dan Duryea who despite only appearing in a handful of scenes makes a grand impact. Duryea didn't really play authentic types, but that wasn't the point. He was the archetypal creepy villain, and his characters don't have to be particularly active because he was great at constantly projecting the idea that he might be about to do something unpleasant. Take that scene at the tailor's shop, where he dials the number with a pair of scissors – that's a typical and very effective bit of Duryea business.

And finally we come to the director, one Fritz Lang. Lang responds fantastically to the material, and emphasises most of all the sense of entrapment in a nightmarish situation. Take the pivotal cake-weigh scene – who but Lang could make a village fete look so eerie? The child's ball bouncing towards Milland as he enters, the absence of bustle or enjoyment, the silence as Duryea arrives, and the absolute, claustrophobic darkness. It's not just gloomy – it has the surrealism of a dream, and really does feel like some symbolic strand of a nightmare. Also characteristic of Lang is the way he uses odd angles and compositions, not so much for expressionistic value but to satisfy his own aesthetic taste, full of diagonals and art deco starkness. It gives us this sense of displacement as familiar settings and objects become geometric patterns. Hollywood didn't have a lot of cash to spare during the war (for a good example of this check out how minimalist Paramount's "big" Technicolor "epic" of the war years, For Whom the Bell Tolls, is), and oddly enough this fact adds to the effect in Ministry of Fear, with stripped down sets, low-level lighting and a lack of extras making conjuring up the atmosphere of a ghost-town.

And this really is what makes Ministry of Fear that little bit different. Whereas the Hitchcock-directed spy thrillers had a kind of playfulness to them, and used that to complement the sense of excitement which the plots necessarily generated from them, Lang's take on the genre really embodies that feeling of real life becoming a nightmare, a tone which Hitch never really went all-out on. As such, Ministry of Fear works on us like a horror movie (and interestingly the theatrical trailer tried to package it as one) thrilling us by immersing us in its chilling world.