Frieda

Phew, that was a tough watch.. Not the production, Frieda is well made, but makes us all face up to our own prejudice and fear. I have no idea how this must have felt to the audience in 1947, I am sure many struggled to sympathise with Frieda, the enemy.

Today hatred is still rife, we live in a world that is still drawing dividing lines, for what.. where has it got us. Frieda tries to make us examine irrational fears and blind hatred. The film pushes us to see people as individuals.

I often look back at old cinema as a little simple, corny even, it is not often I sit in silence at the end and contemplate what I have seen, Frieda made me do this.

Should you watch this, yes if you like cinema that takes you somewhere and you like to empathise with tough subject matter. It is not an arty film and is extremely watchable.. But if you need whizzbangs and CGI this might not be the film for you.

All I can say to finish, I am glad I finally sat down to watch Frieda.

Mai Zetterling, David Farrar, Flora Robson, and Glynis Johns star in Frieda from 1947.

Farrar is a pilot who brings his fiancé, a German woman, home to England, after she helps him escape.

The war is still going on, and she is not welcome. Farrah's sister (Robson) is running for office. When asked about the presence of Frieda, she says that just by virtue of Frieda being German, she bears the same sins as the Nazis.

Meanwhile, Robson encourages her brother's widow (Johns) to try to get Farrar away from Frieda.

Once the war ends, things become easier for Frieda, and she is accepted by the community.

One day her brother (Albert Levein) appears. He gives her a necklace with a swastika on it.

Good story of facing prejudice and coming to terms, for Frieda, of the horrible events that took place in her country.

Very good performances as some harsh realizations come to light for all involved.

By today's standards the acting looks a little dated as the characters come across as somewhat dour & rather too well mannered & polite. Today, in films we are bombarded with characters who have shovelfuls of attitude, aggression and cynicism. Today's film makers make no effort to hide feelings and emotions, but in 1947, it was still customary to keep a stiff upper lip, be courteous and behave at all times with decorum, which indeed this film exemplifies. The storyline is set in a rural, middle class family home, where social graces are still rigidly observed. The film throws an interesting light, not just on the niceties of middle class family life, but also on how patriotic and war weary citizens react to a young German woman being thrust into their midst. David Farrar, as Robert, is faced with a moral dilemma when he decides to do the 'decent' thing and marry Mai Zetterling, who helped him escape from Germany. The slow pace of the film is not to everyone's liking, but nevertheless the film, 'Frieda' gives the excellent cast sufficient time and space to portray believable characters and for the director to build a solid narrative. Although dull at times, I have given it a 7 out of 10, since it gives the modern day film buff the opportunity to see no nonsense quality acting without any frills.

One of the bravest, controversial Post war films around. A very uncomfortable and sensitive subject, treated delicately and with style. This must have been very hard viewing in 1947when it was released, shining a bright light on our humanity and making us consider our own prejudices and potentially shameful capabilities.

This is an amazing psychological drama about a German girl being brought out of the war by an Englishman who eventually marries her, creating great controversy in his small native town, as his elder sister (Flora Robson) is a leading local politician. She is ardently against all things German, consistently denouncing all Germans just because they are Germans, and her case is perhaps the most interesting one in the film , how it develops, and how she finally gets the last word: "You can never treat any human beings as less than human without becoming less than human yourself." It could have been said by Plato. David Farrar is outstanding as usual as the soldier who refuses to give up Frieda, and Man Zetterling, who herself lived in Germany during a period of her life, is absolutely convincing and outstanding in acting this very sensitive part. I was deeply impressed by the depth of the script and the actors' perfect rendering of it in bringing it more than alive, and although the scenery is rather the same all through with no great practical drama, the inner drama is the more vivid, intensive and spiritually dramatic. This was yet another ace among the productions of Basil Dearden.