La vingt-cinquième heure

The naive Catholic Romanian peasant Johann Moritz (Anthony Quinn) is happily married with the gorgeous Suzanna Moritz (Virna Lisi). The local sergeant Dobresco (Grégoire Aslan) is a wolf and lusts Suzanna that rejects him. So he includes the name of Johann in the list of Jewishes in the village and he is sent to a forced labor camp for Jewish. Johann explains to the commander that he is not Jewish while Suzanna unsuccessfully seeks out authorities trying to fix the mistake, but she is forced to divorce from Johann to keep their house. Johann finally accepts to join a group of Jews to escape from the camp to Bulgary. However he is captured again and sent to a concentration camp. However, the SS commander believes there is a mistake since he has the profile of the perfect Arian and Johann joins the SS. After the end of the war, he is sent to a prisoner camp and judged in Nuremberg when he finally knows the fate of Suzanna.

"La vingt-cinquième heure", a.k.a. "The 25th Hour", is a great movie with a heartbreaking story of wickedness, naivety and injustice in World War II. This movie forces the viewer to understand the chaotic condition of Europe after this war in every aspect. Anthony Quinn has a wonderful performance and Virna Lisi is perfectly cast in the role of a beautiful peasant. My vote is eight.

Title (Brazil): "A 25ª Hora" ("The 25th Hour")

I saw this movie when I was 17 years old. I am 52. I am still haunted with this movie and think it might have been the movie that has impressed my life more than any other. I don't recall the quality of the acting or cinema work. I just remember the story and the way that Mr. Quinn played this part. Get it. See it. You will remember it.

after years, for me remains a revelation. about hidden Romania. about small history. about cruel form of solitude. more than beautiful, it is a touching film. a circle of ash. a testimony. in 1980 years, when I watch it first time, it was subject of extraordinary experience. the name of Virgil Gheorghiu was prohibit, the image of a Romania out of propaganda images was strange. but , after a time, more than story remains Anthony Quinn acting who gives new fresh colors to the message. because it is a picture of East. and body of a suffering without cure. open wound. and border of a delicate silhouette of hope. must see it ! because it is one of that films who gives a lot of surprises. a movie who transforms opinions and verdicts. and who draws , in special manner, basic elements of life.

We don't know why this extraordinary film was never made available officially on DVD... Anthony Quinn's performance alone makes this a must-see. There are relatively few films in which an actor identifies so profoundly with his character, a phenomenon always unique for us, moviegoers.

But Quinn's powerful portrayal of an innocent Romanian, literally dragged out of his house and everyday life by forces he cannot comprehend, is only part of what makes this film great. The script is based on a book published in Paris by a Romanian priest who fled the Communist take-over of his country, and the film succeeds to go deep into a little known area of East-European history. Told as a succession of Kafka-esquire twists of fate, the misadventures of Johann Moritz (told openly and honestly, without any of the political correctness currently so precious in Hollywood) are in fact a eulogy for the lost innocence of the Romanian people... it is devilishly ironic that this eulogy is signed by a French director, working with the American money of an Italian producer, and overseeing a multinational cast fronted by an extraordinary Mexican-born thespian.

I've seen mentions of VCDs of this film in various Asian internet stores, and I was fortunate to take possession of a digital recording of this film, broadcast on the British version of TCM. But it's a shame that "The 25th Hour" isn't anywhere on the future DVD release map of MGM studios.

I caught up with this movie on TV after 30 years or more. Several aspects of the film stood out even when viewing it so many years after it was made.

The story by the little known C Virgil Georghiu is remarkable, almost resembling a Tolstoy-like story of a man buffeted by a cosmic scheme that he cannot comprehend. Compare this film with better-known contemporary works such as Spelberg's "Schindler's List" and you begin to realize the trauma of the World War II should be seen against the larger canvas of racism beyond the simplistic Nazi notion of Aryan vs Jews. This film touches on the Hungarians dislike for the Romanians, the Romanians dislike of the Russians and so on..even touching on the Jews' questionable relationships with their Christian Romanian friends, while under stress.

As I have not read the book, it is difficult to see how much has been changed by the director and screenplay writers. For instance, it is interesting to study the Romanian peasant's view of emigrating to USA with the view of making money only to return to Romania and invest his earnings there.

In my opinion, the character of Johann Moritz was probably one of the finest roles played by Anthony Quinn ranking alongside his work in "La Strada","Zorba the Greek" and "Barabbas".

The finest and most memorable sequence in the film is the final one with Anthony Quinn and Virna Lisi trying to smile. The father carrying a daughter born out his wife's rape by Russians is a story in itself but the director is able to show the reconciliation by a simple gesture--the act of carrying the child without slipping into melodramatic footage.

Today after the death of Princess Diana we often remark about the insensitive paparazzi. The final sequence is an indictment of the paparazzi and the insensitive media (director Verneuil also makes a similar comment during the court scene as the cameramen get ready to pounce on Moritz).

The interaction between Church and State was so beautifully summed up in the orthodox priest's laconic statement "I pray to God that He guides those who have power to use them well."

Some of the brief shots, such as those of a secretary of a minister doodling while listening to a petition--said so much in so little footage. The direction was so impressive that the editing takes a back seat.

Finally what struck me most was the exquisite rich texture of colors provided by the cameraman Andreas Winding--from the brilliant credit sequences to the end. I recalled that he was the cameraman of another favorite French film of mine called "Ramparts of Clay" directed by Jean-Louis Bertucelli. I have not seen such use of colors in a long while save for the David Lean epics.

There were flaws: I wish Virna Lisi's character was more fleshed out. I could never quite understand the Serge Reggiani character--the only intellectual in the entire film. The railroad station scene at the end seems to be lifted out of Sergio Leone westerns. Finally, the film was essentially built around a love story, that unfortunately takes a back seat.

To sum up this film impressed me in more departments than one. The story is relevant today as it was when it was made.