Rome Express

I usually enjoy dramas set on trains and this is one of the earliest and one of the best. A major factor in its success is the adroit direction of Walter Forde, seen in the facility with which he introduces the protagonists against the station background and in the natural way in which the story is allowed to flow with very little contrivance, the overhearing of a conversation re the painting later in the film possibly being an exception. Surprisingly he did not appear to receive interest from Hollywood after this. Andrew Mazzei's sets are impressive and convincing. There are some memorable performances, not least Conrad Veidt, as a menacing villain who looks downright evil at times. Cedric Hardwicke as the mean-spirited philanthropist, Gordon Harker, playing against type as a middle-class golfing bore, Finlay Currie, amusing as the brash movie agent and Donald Calthrop as the treacherous little villain in fear for his life all make a vivid impression. In fact there is hardly a weak link in the cast. It is sometimes stated that Currie played the same part in the 1948 near-remake, Sleeping Car To Trieste, but in fact he took over Hardwicke's role as the wealthy bullying humbug.

This highly entertaining trainbound comedy-thriller predates Alfred Hitchcock's "The Lady Vanishes" (also co-written by Sidney Gilliat) by several years, and is almost as good - in fact, it is better-paced, as it plunges us straight into the action faster, although the overall plot is not equally ingenious. The film boasts fluid, inquisitive camerawork, some imaginative montages, colorful characters (Conrad Veidt is excellent), and two steamy women (no pun intended). Only the villain's demise, or rather how it happens, is a letdown. Best line (during a poker game): "I ought to know you have one more picture". *** out of 4.

I showed my Super 8 print of Rome Express to a small audience recently after a pause of 8 years and was delighted to rediscover how well scripted and tightly directed it is. This tale of theft, blackmail, murder and love moves at a rapid pace for a British film of its time, builds its characters and suspense admirably, and involves much fluid camera-work, excellent use of extras, and extremely thoughtful editing.

The various intriguing characters on the overnight train from Paris to Rome include a movie starlet who is tired of her publicity agent's strict regime of press stunts, a fence who is trying to get away with a painting stolen from the crooks who stole it in the first place, a millionaire who is only generous when its likely to get him in the papers, runaway lovers who don't want to be involved in anything or with anyone but themselves, a golf course bore, and a French police inspector on vacation.

It's delightful to watch the journey go gradually wrong for almost everyone involved, and in such a cleverly constructed way that it does full credit to writer Sidney Gilliat and former silent film comedian turned director Walter Forde. Scots actor Finlay Currie does a very acceptable American accent as the publicist (boasting of having been press agent to Tom Mix's horse), Conrad Veidt is supremely sinister and threatening as the art crook Zurta, Donald Calthrop is his usual creepy self as the cowardly fence on the run, and Esther Ralston is simply delicious in a variety of stunning 1930s outfits as jaded but very beautiful starlet Asta Marvelle. Yum!

This forerunner of many a classic train movie was acclaimed as one of the best films of 1933 and it's easy to see why – especially if you care to be kind about the model shots (more convincing than Hitchcock's) and some of the background scenery seen outside the train at night.

And of course the Gaumont British Lime Grove Studios reconstruction of the train itself is almost as attractive as Esther Ralston – but not quite. While its acting is rather wooden – hers definitely isn't.

Like the sumptuously luxurious train, this film is one worth waiting for and even gets a little steamy at times. The journey is pleasing, colourful and more exciting than the destination.

Although this film has dated somewhat it remains a classic in it's genre, and surely is the inspiration for other such train based thrillers as Murder on the Orient Express and the Lady Vanishes. Conrad Veidt was never better and is well supported by an illustrious cast. Technically the sound quality in 1932 leaves a little to be desired but this should not detract from a little seen gem of a movie

I always liked train movies, so I bothered to watch this one, on French TV. It was also an occasion to see Conrad Veidt, a very good actor, last seen in CASABLANCA. During the watching, I suddenly remembered the name of Bonar Colleano, the British-American star of the past-war era. From IMDB, I learned that he starred in another train movie, SLEEPING CAR TO TRIESTE (1948), and, to my great amazement, I discovered that the later was a remake of the former! sixteen years after... harrycarasso, Paris