Lily Marlène

Lilli Marlene (1) (1950) -

This film was really badly put together and edited. I would imagine that it was done with a low budget, because it certainly didn't feel like they had spent much money on actors or directors and definitely not editors, whose job was done in a very scissor happy way, almost cutting out of scenes completely, before they were over and the film quality wasn't very good right from the off.

Some of the acting was actually incredibly poor, even from the leading man Hugh McDermott.

I was also not sure that I saw the point in the film overall. Because it was so clumsily put together and was missing the necessary drama, it lost the plot, quite literally.

The romance lacked passion and chemistry with comedy that was lacklustre, while the drama was farcical.

A lot of it was very questionable as well - Why was no one tending to an injured party's wounds? How did the attackers think that they'd get away with their actions? And much more.

As it moved forward it developed in to something a bit better, but it was still terribly delivered. I had to wonder if, and hoped that the 1981 version would be better, but I don't think that I could put myself through it again just yet.

In general, it was a harmless story, but I would have liked to have seen a bit more depth and some real consideration put in to it, rather than throwing it away just to make another film, as it appeared to be. And the torture/brainwashing scenes were tame even for 1950. I couldn't feel that they had really been mistreated.

I only recorded this one because I'd heard the song myself and wondered about its origins. However, after seeing this, I think I probably know even less about it than I did before!

I wouldn't rewatch this one, but might give the 1981 attempt a go if I'm in the right frame of mind when it comes on TV. I certainly wouldn't search it out specificity though.

329.01/1000.

The film was dated by 1951. It is great as a propaganda film for the war but for the post war period it is out of date. However Stinker Murdoch adds a bright touch for those who collect comedic performances. Overly sentimental and jingoistic with stero typical performances representing all areas of the UK and 'ze Germans'.

It's unlikely Fassbinder ever saw this equally fanciful narrative constructed around the popular song and it's enormous popularity on both sides of WWII. But it's the one that comes closest to his glossy retread of the original combining regular performances of the song with Nazis; including Walter Gotell as Goebbels, who wants to claim her for the Fatherland.

'Stinker' Murdoch plays himself, as does silent star Estelle Brody, briefly heard at one point singing WWI favourite 'Mademoiselle from Armentieres'.

Lisa Daniely is quite engaging as the eponymous character in this post-war homage to the sweethearts whose songs lifted many an heart during the hardships of WWII. She is working in a small North African bar that finds itself controlled by the British, the Nazis, then the British again - with both sides aware that she is the source of the legendary song, and with both equally aware of her enormous propaganda value. Amidst all this toing and froing, she meets and gradually falls for "Steve" (Hugh McDermott) before being recaptured by the Nazis and taken to Berlin where she is encouraged to make broadcasts in English to smash morale. Nobody will sing this song like Marlene Dietrich, but Daniely makes a decent fist of her frequent renditions - in English and German - and her porcelain-like features and delicacy of performance engender a sense of her vulnerability as she is but a pawn in a dangerous game. McDermott could never be described as versatile and it's all grin and smart-assed quips from him here too. The production has been nowhere near a desert, but as wartime feel good films go this is at the more entertaining end with just enough menace from some nasty Nazis to remind you that it could all have been true!

Unfortunately this isn't one of the best of British war films although it has some interesting elements, including early appearances of actors who would ultimately become stars at home and internationally. Stanley Baker shone brightly but briefly and Walter Gotell and Russell Hunter both would have long careers on both TV and film.

Established character actors Lesley Dwyer ( who always added to the films he was in), Ben Williams and John Blythe (a more recent addition to the register of good character actors) did their jobs. Richard (Stinker) Murdoch was already a star of stage, radio and early TV, prior to the war and essentially played himself. Hugh McDermott playing the male lead, already had years of experience in mostly 'bit' parts but wasn't at his best in this film.

The film was hampered by the poor sets and pretty poor script. A shame as the premise had some promise.