Cuore prigioniero

When I started watching this rarely seen film I didn't expect much. It received mild reviews in a television listings magazine and it was on during early weekday afternoon on C4. However, it turned out to be a remarkably touching film and a real tear jerker! It tells a story of a bunch of British soldiers at a prison camp in Germany and the best part is, that there is no token American! The story is told by mixing skillfully pre- war flashbacks, everyday camp life and home front events. Each part adds to the whole and keeps you glued to your seat until the end. The film crew shot this in 1946 at a real prison camp so the art direction is realist throughout.

Having read a lukewarm review of "The Captive Heart" in Time Out (my cinema bible) and thinking, "They're bound to trash this one," I leaped to the IMDb reviews ready to play my "champion of the turkey" role. What a pleasurable surprise to find it not needed, that I am indeed at one with sympathetic users and critics alike in admiration for this rather special offering from the Ealing archive. Whereas the comedies from the West London studios are still admired with affection, their more serious fare tends to be overlooked. "The Captive Heart" is something of a forgotten treasure, a tribute in the wake of victory, to our gallant servicemen who spent much of the second world war as prisoners in German camps. It's another team piece in the mode of Carol Reed's better known "The Way Ahead" which takes a cross section of class types and closely observes their behaviour as they share an enforced coming together. It's all very stereotypical but if treated with sincerity, as in both films, a measure of character cliché can be forgiven. If the level of acting is fairly mediocre, particularly some of the women with those period prissy upper class accents, one part, that of Michael Redgrave as a Czech who has assumed the role of an English soldier killed in battle to escape being identified by the Germans, stands out for its quality. Where the film really scores is in its reminder of a time when people were really nice to one another particularly when brought together in adversity. Everyone mucks in to help, from comforting the young soldier when first confronted with the permanence of his lack of sight to the initially unsympathetic character who gives up his chance of repatriation to aid one who needs it more, welcome reminders of an age when it was generally normal rather than exceptional to emerge from the cinema feeling good.

Great plot, excellently under-stated performances, writing and direction. The fact that this film was made in 1946, so close to the events its depicts, seems to add an almost documentary-like quality to this film. Indeed, in the opening credits, the line 'Filmed in the British Zone of Western Germany' suggest that the realistic prison-camp scenes were probably shot in genuine locations. The cast is almost a repertory company of British 1940s actors - but no-one is taking an easy ride. There are fresh and challenging performances, even though the faces are familiar. What struck me is how the film is free of the gung-ho 'smart prisoners, dumb Krauts' type of prison camp film that dominated the genre later on. This film is the product of a people tired of war. At the same time, it retains some of the stiff upper lip feel of many British wartime films, but with the confidence of victory, it does not need to indulge in the 'beastly Hun' elements. Moving without being sentimental. A very 'human' film, only a few steps short of a masterpiece.

The movie is a broad photo montage of several stories--from one setting--of British soldiers who were captured early in WWII (1941) and placed in a German POW camp. Is depicts what happens to them and their loved ones, back home, as they are separated by time and space.

How do the relationships change?

How do they remain the same?

What holds them together or drives them apart?

Four years can be like a lifetime to those it affects.

This is no Stalag 17 or Hogan's Heroes-type movie. I found the movie to be very engaging and enjoyable, even as half of a long-range relationship undergoes very big changes. Changes can range anywhere from physical disability, to "Dear John" letters, to birth and/or death. The relationship often—usually—depend on letters and photos back and forth.

This is a deeply human and almost documentary account of the life of prisoners after Dunkirk who are not released until towards the end of the war, Michael Redgrave as the leading actor being far from alone among suffering fellow soldiers, as there is a number of tales told of dire destiny in this concentration camp of arduous fates. Redgrave is of course the most interesting case, a Czech escaped from the Germans and sought by Gestapo, hiding as an Englishman with a fake identity with suspiciously good knowledge of German, as his father was a diplomat in both London and Berlin. There is also Gordon Jackson with the loss of his sight and his despair about having to give up his betrothed, there is the family man whose wife is having a baby in his absence with that whole family story, there is the major (Basil Radford) struggling with the challenges of his responsibility, there are the sore trials used by the Germans make the camp existence more difficult than necessary for the prisoners, who nevertheless manage to break loose into comedy when an occasion arrives. It's heartrendingly human all the way, and the great love story developing in the ruins with inevitably critical consequences makes this film a definite and almost obligatory classic.