Viaggio per la libertà

propaganda portmanteau movie: several persons ,aboard a car ,tell their tales .

The first is an improbable story of French resistance (but there is some excuse,for the screenwriters could not really know what happened across the ocean)with "la Marseillaise " galore .

Highly talented Robert Ryan is wasted in another improbable story of car race and Air Force pilots .

Other segments include "Miss America" and her unfortunate fiancé and a spooky story of death row.

The last episode puts the record straight :it's full of finer feelings and looks like a Frank Capra's finale but ,out of context, it is rather ponderous and doctrinaire :after all ,a tramp is par excellence an outcast,thrown out of the society-in the segment,it's his own will,but it is a very particular case- so why complain if the old man's remarks on the international situation do not concern him?Frank Capra probably would have found a way to make this moral convincing

You might not think of it at first glance, but Gangway to Tomorrow is a very pro-America movie to inspire folks during the height of WWII. It takes place during a morning carpool to work. One man, Charles Arnt (whose character name is Jim Benson - isn't that cute?) has been kind enough to drive his coworkers but knows nothing about them. He confesses that he's made up stories about them to entertain his wife, but those stories turn out to be very far from the truth. As Charles tells each of the passengers what he imagines their life to be like, they nod and smile - then they reveal their backstories to the audience. It's an interesting premise, and you get five stories for the price of one.

Some are better than others, which is to be expected. Margo's is extremely exciting: she was a nightclub singer and member of the French Resistance with a head Gestapo agent on her trail. Robert Ryan's is less-so: he was a racecar driver. The others are James Bell (with a story that will give you chills), John Carradine, and Amelita Ward. The message is simple but meaningful. No matter what your background is, whether or not you're an American, if you're injured and unfit for active duty, if you're atoning for terrible sins, or if you've been given a second chance at life, you can (and should) do everything to help your country in her hour of need. It was a very powerful message in 1943!

1943's "Gangway for Tomorrow" is another anthology film from the war years, nowhere near as ambitious as Fox's "Tales of Manhattan" or Universal's "Flesh and Fantasy," just a tight little RKO 'B' that served its purpose then, and still resonates today. Scripted from the prolific pen of radio writer Arch Oboler, best remembered for the horror series LIGHTS OUT, whose career as a movie director (always scripting his own material) turned out such intriguing oddities as "Strange Holiday," "Bewitched," "Five," "Bwana Devil" (the first 3-D feature release), "The Twonky," and the notorious 1966 "The Bubble," later seen on television under the incredibly deceptive title "Fantastic Invasion of Planet Earth" (also a 3-D release). Five strangers are driven to work building airplanes for the war effort, their driver sharing his innocent fantasies about what kind of lives they led before they wound up at the local defense plant, each character's backstory unfolding in individual segments. Driver Jim Benson (Charles Arnt) told his wife that Lisette Rene (Margo) was a descendant of Marie Antoinette, actually a former member of the French Resistance, barely escaping Paris with her life after her comrades are betrayed by one of their own. A flat tire finds Joe Dunham (Robert Ryan) in familiar territory, a former race car driver whose last victorious finish ended in a near fatal crash resulting in his failure to join his friends in the Air Force. Former prison warden Tom Burke (James Bell) continues to brood over the awful circumstances of how he was forced to execute his own brother, convicted of taking four innocent lives in a bank holdup, the news of which was enough of a shock to kill their mother. Benson's description of Mary Jones (Amelita Ward) as 'a pretty home girl' isn't far from the mark, except that her recent crowning as Miss America proved neither professionally nor personally rewarding (her neglected boyfriend ran off to war), so she's now dedicated to helping out by working at the plant. Last but certainly not least, we have legendary scene stealer John Carradine, whose sleepy Wellington was believed to be a former banker who tired of playing with finances to travel around; again not far from the truth, as he's really a vagrant whose journey to California aboard a train with fellow hobo Swallow (Alan Carney) finds them both arrested and put on trial for avoiding a war they claimed to know nothing about. The sentiments expressed by Harry Davenport's judge shine just as brightly today as they did then, a time when Americans were united, had a backbone and refused to quit, Wellington free to go his own way but now anxious to perform his patriotic duty (if it's not too taxing of course). All five are perfectly happy to have Benson's wife believe what her husband said about them, and accept her invitation for Sunday dinner. At 69 minutes, no segment runs on longer than it should, with Margo's opener the longest, Robert Ryan's the shortest (Wally Brown and Alan Carney, RKO's answer to Universal's Abbott and Costello, are cast in separate stories, not a team in this one). Carradine is naturally a constant delight, offering his second-to-none impersonation of John Barrymore, which he would essentially repeat in 1946's "Down Missouri Way," and in a 1985 episode of FAME, "Leroy and the Kid," still possessing 'the Divine Madness' at age 79.

Six people are carpooling on the way to the munitions factory. They recall their past. One was a lounge singer in the French Resistance. One was a race car driver. One was a prison warden. One was Miss America. Finally, one is an intellectual who turn on, tune in, drop out.

This is a wartime propaganda B-movie. It is distinguished by the varied story telling of the five characters. I'm guessing that it's meant to show the variety of people pulling together for the greater cause. In that sense, this becomes more than the total of its parts. It does nevertheless feel like an extra in the pantheon wartime films.

The flag-waving toward the end gets a little too intense. Considering the time, though, it makes sense.

People on their way to work reminisce about how they end up at a munitions factory. Margo is very convincing as an emigre French chanteuse. It works really well, all told, and is touching and engrossing.