Passage to Marseille

It must be a problem for first-time viewers to watch this flashback within a flashback within a flashback film. There is also the urge to compare this with "Casablanca". It cannot hold a candle to that masterpiece. On its own, it has some good qualities. The production is first-rate. The cast do excellent work considering the limits of the cliche-ridden script. The Devil's Island sequence is particularly well executed. So we have a film that may disappoint considering the talent but is hard to dismiss.

It looks like a sure-fire winner on paper, but nothing about Passage to Marseille really clicks. Bogie's Devil's Island escapee never feels like a fully-rounded character, and Greenstreet, Lorre and Rains - Bogart's fellow stars from the same studio's Casablanca - are wasted in largely inconsequential roles. Another negative: the clumsy flashback structure plays havoc with the pacing of the story. Still watchable, but a definite misfire.

Wartime heroics never seemed exploited in quite so complex a fashion as "Passage to Marseille," directed by Michael Curtiz…

Bogart, a French journalist framed for murder because of his political views and sent to Devil's Island during World War II, escapes from his penal hell with four other convicts and winds up on a French freighter bound for home… Hoping to rejoin the fighting Free French resistance movement, the men, all fiercely loyal patriots, become involved in preventing a takeover of the ship by Fascist sympathizers…

This relatively simple plot line is then surrounded by a series of extraneous plots and subplots which were related in a series of single, double, and even triple flashbacks, making any semblance of coherency virtually impossible…

Bogart's characterization is equally vague and complicated as he maintained an opposing balance of virtue and vice… At one moment he is the picture of idealistic moral righteousness fighting against a callous system, and the next he debased his human nature as he brutally machine-guns some defenseless enemies… His moral platitudes do not balance his immoral behavior, making for ambiguity and confusion...

The most important saving grace of "Passage to Marseille" is the supporting cast headed by Bogart's "Casablanca" co-stars Claude Rains, Sydney Greenstreet, and Peter Lorre, who all turned in strong character portrayals

While much has been made of the flashback within a flashback utilized in the movie, one shouldn't overlook the great action sequences, particularly towards the end, that have you cheering on the French heroes in the film. Sure, Humphrey Bogart doesn't attempt a French accent, but just look at films where he didn't attempt a foreign accent and how disasters they were (what was that James Cagney Western where Bogie was supposed to speak with a Spanish accent? I still cringe at the thought of it.) But it doesn't affect his acting in the lead role. After all, Clark Gable didn't put on a Southern accent for "God With The Wind" and I didn't hurt his work in that masterpiece.

This is no masterpiece and it is difficult to follow sometimes, but just to see Peter Lorre, Sidney Greenstreet and Claude Raines work is worth it. This

Again, many people have mentioned in the war crime Bogart commits in the film, but when I saw the supposed offending part, I had no problem with it. And I'm no conservative when it comes to such things normally, but the "crime" is against ruthless that these who had no such reservations about the rules of war.

"Casablanca" is an entirely different film and it is unfair to compare this one to that one just because it has the same director and many of the same cast members. This is a rousing piece of war propaganda that gets the audience involved and I liked it very much. There is even an emotional element to it and unlike "Casablanca," it does not feel studio bound with even some believable exterior shots. I give it seven out of ten for the action alone.

Pretty cool WWII story, told mostly through flashbacks, about French convicts led by Humphrey Bogart who escape from Devil's Island to go help their country fight the Nazis. The men are picked up by a freighter bound for home and must deal with slimy Sydney Greenstreet, who isn't particularly opposed to the idea of a Nazi-occupied France.

Reunites Casablanca costars Bogart, Rains, Lorre, and Greenstreet with director Michael Curtiz. In many ways, this could be seen as a possible sequel to Casablanca, though certainly not in that film's league. I could see where you could rework the story to be about Rick, Ilsa, and Louis' post-Casablanca story. Cute use of models in early scene where the war correspondent arrives to speak with Claude Rains. This movie is slammed a lot for its use of the flashback-within-a-flashback-within-a-flashback technique. Normally I'm not a fan of that myself but here I didn't think it was confusing like critics claim. The ending is kind of depressing but realistic. War is hell, after all.