Sacrificio supremo

One of the users said s/he almost gave this film an 8. That was my exact opinion, until I watched "The Mortal Storm". In my opinion, this is a better film with an equally impressive and handsome hero and a more impressive (albeit more glamorous looking) heroine - less romance, more sacrifices, which seemingly best suited during wartime.

Merle Oberon and Brian Aherne star in First Comes Courage," a 1943 film directed by Dorothy Arzner.

Oberon plays Nicole Larsen, a Norwegian who is seen by the other townspeople as a traitor because she's dating a Nazi (Carl Esmond). In truth, she's using him to get information to the underground. When a British beau is smuggled into the country, he is later captured, and she has to get him away from the Nazis.

Merle Oberon was underrated as an actress. She does a terrific job here (as she often did elsewhere), especially in a big, dramatic scene toward the end.

"First Comes Courage" is one of many propaganda films released during the war, and one of several that dealt with the presence of the Nazis in Norway, where politician Quisling helped the Nazis conquer his own country.

Not great, but okay.

There were several "Norwegian fishing village" movies made in the thick of WWII, to show American audiences why we needed to help the world and inspire us to be as courageous as the peasants in the movies. First Comes Courage is one such movie, and while I appreciated Merle Oberon's performance, it's not my favorite of the subgenre.

Merle fans will love her in this, playing a strong secret spy who has to withstand the entire town turning against her. She's pretending to be the faithful mistress of Carl Esmond, one of the top Nazi officers occupying the town, but secretly she's working with the underground resistance and passing along pillow talk secrets. There are some very tense situations where her cover threatens to be exposed, but she's got one strong backbone!

Where does Brian Aherne come in? He also works for the resistance, and he comes to town on a special mission. Will he mind that Merle's been cozying up to Carl, or will he realize it's all in the line of duty? If you've never seen one of these movies before, you'll probably really like it. I've seen Edge of Darkness, however, and have been spoiled by the best!

Two of Hollywood's British colony are the leads in this Columbia Pictures war film about the Norwegian Resistance. Brian Aherne and Merle Oberon, a British barrister and a Norwegian woman who have some before the war history come together when British commandos raid Norway.

Oberon has a dangerous assignment, she plays the mistress of a German Major Carl Esmond and as such is despised by her fellow Norwegians. But in fact she's a spy for the Allies. Still it's not easy to hang around knowing that you're vilified behind your back.

Wouldn't you know it Aherne is landed by submarine and is to make contact with Oberon. He also knows the local Norwegian terrain. Can they get their mission done and keep their minds on the mission is the theme of First Comes Courage.

Carl Esmond does a good job as the major who is a typical cruel Nazi, but whom you also feel a bit sorry for as Oberon is making a fool of him. As such he has a bit more dimension to him than Conrad Veidt as Major Stroesser in Casablanca.

After a lot of hot and heavy action when the commandos do raid, the ending is a Casablanca like one and I'll not say more.

First Comes Courage is distinguished by the good performances of its leads, Oberon, Aherne, and Esmond and the first rate action sequences. Kudos also to Isobel Elsom as a Norwegian nurse who sacrifices much herself. The film hardly has the staying power of Casablanca, the difference between the major leagues and Double A baseball.

Dorothy Arzner's last directorial effort is replete with her usual feminist slant on things as Merle Oberon -- playing a Norwegian -- is caught between romantic Nazi officer Carl Esmond, who wants to marry her and British spy Brian Aherne who loves her, which is all a great inconvenience to her winning the war for Norway. The men are busy playing with their big tanks and their large meetings -- the state marriage of Esmond and Oberon with its TRIUMPH OF THE WILL sized set decorations is very funny. The occasional battlefield shots looks to me like they are modeled on those sets of plastic soldiers that used to be advertised on the back of comic books.

Oberon, appropriately enough, seems to spend much of her time trying to keep a straight face as Esmond tries to romance her into marriage. It fits neatly into the sort of movie that Arzner used to direct Ruth Chatterton in in the early 1930s, but here, deprived of her favorite screenwriter, Zoe Akins, and forced into the confines of wartime propaganda, she still manages to get in the occasional sly dig.