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Le vie segrete

Titolo originale: The Secret Ways
  • 1961
  • Approved
  • 1h 52min
VALUTAZIONE IMDb
6,2/10
563
LA TUA VALUTAZIONE
Le vie segrete (1961)
AdventureHistoryMysteryThriller

Durante la rivolta ungherese del 1956, un mercenario americano viene ingaggiato per far uscire clandestinamente un leader della resistenza ungherese da Budapest occupata dai sovietici.Durante la rivolta ungherese del 1956, un mercenario americano viene ingaggiato per far uscire clandestinamente un leader della resistenza ungherese da Budapest occupata dai sovietici.Durante la rivolta ungherese del 1956, un mercenario americano viene ingaggiato per far uscire clandestinamente un leader della resistenza ungherese da Budapest occupata dai sovietici.

  • Regia
    • Phil Karlson
    • Richard Widmark
  • Sceneggiatura
    • Alistair MacLean
    • Jean Hazlewood
  • Star
    • Richard Widmark
    • Sonja Ziemann
    • Charles Regnier
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,2/10
    563
    LA TUA VALUTAZIONE
    • Regia
      • Phil Karlson
      • Richard Widmark
    • Sceneggiatura
      • Alistair MacLean
      • Jean Hazlewood
    • Star
      • Richard Widmark
      • Sonja Ziemann
      • Charles Regnier
    • 15Recensioni degli utenti
    • 6Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto134

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    Interpreti principali22

    Modifica
    Richard Widmark
    Richard Widmark
    • Michael Reynolds
    Sonja Ziemann
    Sonja Ziemann
    • Julia
    Charles Regnier
    Charles Regnier
    • The Count
    Walter Rilla
    Walter Rilla
    • Jancsi
    Senta Berger
    Senta Berger
    • Elsa
    Howard Vernon
    Howard Vernon
    • Colonel Hidas
    Heinz Moog
    • Minister Sakenov
    Hubert von Meyerinck
    Hubert von Meyerinck
    • Sheffler
    Oskar Wegrostek
    • The Fat Man
    Stefan Schnabel
    Stefan Schnabel
    • Border Official
    Elisabeth Neumann-Viertel
    Elisabeth Neumann-Viertel
    • Olga
    Helmut Janatsch
    • Janos
    John Horsley
    John Horsley
    • Jon Brainbridge
    Walter Wilz
    Walter Wilz
    • Peter
    Raoul Retzer
    • Special Agent
    György Kõváry
    • Language Professor
    • (as Georg Köváry)
    Ady Berber
    Ady Berber
    • Sandor
    Jochen Brockmann
    Jochen Brockmann
    • The Commandant
    • Regia
      • Phil Karlson
      • Richard Widmark
    • Sceneggiatura
      • Alistair MacLean
      • Jean Hazlewood
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti15

    6,2563
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    Recensioni in evidenza

    7LeonLouisRicci

    Richard Widmark's "IN-House" Misfire...Drearily Dynamic Locations...Confusing and Flat

    Certainly has the Feel of a "Backwards" Stagnant Locale with the Police-State Lurking In and Out of Baroque Buildings.

    The Characters All Have a Suspiciously Worried, Frowning Attitude with No-Non-Sense Brutality Against Any Who Dare Question Authorities.

    When They Put On an "Act" of Welcome, it is More Like a Comedy Sketch than a Practiced Con. For that Matter, Widmark's "Acts" are just as Silly and Transparent.

    Neither Does the Film Any Good at Maintaining Suspense or Intrigue.

    John "Johnny" Williams First Full-Fledged Score is OK Full of Sudden Blaring and Bombastic "Stings".

    The 3rd Act has Most of the Action and Sadism, both a Staple of the Bad Commies in these Cold-War Types.

    Getting There may be a Slog for Some as the Film is Slightly Dated by its Verbosity Not Violence.

    Film Debut, in a Small Role, is Santa Berger. Widmark's Wife at the Time, Writes Her One and Only Screenplay.

    The Story is Somewhat of a Mess to Sort Through, as Things Go Undefined and Loose Ends are Fraying Everywhere.

    Not Bad, but Doesn't Rise to the Best of Richard Widmark or Phil Carlson.

    With Low Expectations...

    Worth a Watch.
    6CinemaSerf

    The Secret Ways

    Richard Widmark was quite good in these wartime gun-for-hire stories. In this one, he features well as the slightly smug American "Reynolds" who is drafted in by the Hungarian resistance to try and smuggle a renowned scientist from Soviet-occupied territory to the safety of Vienna. Upon arrival - posing as a journalist - his best laid plans hit one pretty unexpected snag - the old fella "Jansci" (Walter Rilla) doesn't actually want to go. Luckily, the man's daughter "Julia" (Sonja Zieman) is on board but they are still going to have one heck of a job staying one step ahead of the suspicious authorities whilst they persuade the old chap to flee with them. There is quite a decent plot here, a certain degree of chemistry between Widmark and the lively Zieman but some of the escapades are truly far-fetched (especially towards the conclusion with a brave but implausible prison break featuring the "Count" (Charles Regnier)). That said, most of this is a quickly paced and lively action thriller with sparing use of dialogue and a fair degree of menace from the pen of established writer Alistair MacLean. Apparently John Williams was behind some of the effective score, and the photography is suitably dark and grainy adding quite a bit of atmosphere to this decent cold war thriller.
    7PaulusLoZebra

    A good spy thriller that could have been great

    This is a good cold war spy thriller that had all the elements to make it a great one, but it fell short. The culprit was the screen play's habit of inserting "magical" moments when characters emerge suddenly to change the scene without explanation. Because it's a spy film we are supposed to accept and believe that these moments occur because the forces at work are brilliant and well prepared etc., but it happened too often. Otherwise the film is very good indeed, with great on-location shots, excellent cinematography, a fine score, and a uniformly excellent, believable cast. Senta Berger lights up the screen in her US film debut, but her character's arrival, disappearance, then arrival and disappearance again are examples of those magical moments. Kudos to @krocheav who wrote a great review and brought out many of the strong and interesting points of the production, especially the "firsts" for John Williams, Richard Widmark, Jean Hazlewood, Senta Berger, Sonja Zieman and Alistair Maclean. [NB, I saw the film before I read that review.]
    5Teagarden1256

    Lukewarm Cold War drama

    This typical Cold War spy thriller, full of impossible to understand plot turns, bad guys and bad girls who turn to be good, maybe, doesn't have much going for it except Max Greene's (Mutzy Greenbaum) dazzling B&W deep focus photography and one of John Williams' first atmospheric scores. Phil Karlson, the director, who occasionally made a decent film, was hired and then fired by star/producer Richard Widmark who mostly snarls. Karlson does an OK job with the confusing script, but this is no THIRD MAN. If you stop trying to figure out what the hell is going on, and just watch the imagery, worth your while. Added bonus: Lots of excellent European character actors looking sinister and the luscious Senta Berger looking delicious in one of her first English language roles.
    7museumofdave

    A Triumph of Style Over Substance

    There of so many echoes of The Third Man in this film, but the essential plot lacks narrative cohesion--the dazzling atmospherics of decadent Europe after WWII, like Reed's film, are rich in dark shadows, fogs and dripping walls, dizzying stairwells and dismal foggy streets--but the plot, unfortunately, is a little foggy to begin with, and although the viewer slowly comes some comprehension concerning Widmark's task to finesse the escape of an anti-communist leader from behind the iron curtain, there are numerous lures that sidetrack him, most of them of the female. Widmark's performance is characteristically compelling, and there are some new faces on the screen deservedly demanding attention. Another positive aspect of this studio film is that most of the faces are new ones to American viewers, and Widmark's relationships to each are complex although, like the plot, sometimes confusing.

    If the viewer doesn't expect constant clarity and a direct Indiana Jones narrative, this film is fascinating for it's location shooting, evoking a more direct sense of hopelessness than even The Spy Who Came in From The Cold, and it's all highlighted by a persuasive music score (one of the first powerful backups by John Williams), as well as the adventurous attempts to escape the constant threat of permanent imprisonment--the sympathetic hero combines with a growing sense of suspense can add up to an entertaining two hours: I found the atmospherics even more fascinating that the labyrinthine plot.

    Altri elementi simili

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Richard Widmark's wife, Jean Hazlewood, wrote the screenplay. It was her only screenwriting credit.
    • Blooper
      Although the film is set in 1956 Hungary. The opening title of the movie is The Austrian-Hungarian Border 1960.
    • Citazioni

      Jancsi: That would be convenient wouldn't it? You've made arrangements, certain plans to deliver me from my enemies into the hands of Herr Scheffler. You overlooked one thing only - I don't choose to leave my country.

      Michael Reynolds: Sir, you don't have a choice, your time is up.

      Jancsi: If that is so, Mr Reynolds, I'll die here.

      Michael Reynolds: Why do you have to die? What for? I don't believe in it. Look, I came here to save your neck and I'm going to do it, even if you don't want it saved.

      Jancsi: Whatever I do with my life is my own business. No one else's.

      Michael Reynolds: Oh, you don't understand. In an few days you won't have a life.

      The Count: We know our position better than you do.

      Michael Reynolds: No, you don't! Scheffler is a pipeline. If he says I've got two days to get you out, you've got two days. Now, you can wait here like sitting ducks or you can do something. But there's a way out. If you're reasonable, you'll take it.

      Jancsi: There's no profit for you, don't bother about that.

      Michael Reynolds: Alright, I'm being paid. I know you'd like it better if I was some great humanitarian who believed in your cause. Well, I don't even know what your cause is.

      The Count: That shouldn't surprise us.

      Michael Reynolds: Well, who does outside this room? You could yell your heads off, nobody'd hear you. They aren't listening. They're all like me, I promise you; they couldn't care less. Causes are outmoded. Everybody's learned to live by compromise. Why can't you?

      Jancsi: There isn't any compromise. To compromise is to doubt your own convictions. If they're worth having, they're unshakeable.

      Michael Reynolds: Convictions are fine, if you live.

      Jancsi: Mr. Reynolds, if I can live one day to save one person, that's enough.

      Michael Reynolds: But you can do more than that on the outside. Unless you're determined to die a a martyr. And a crackpot!

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    Dettagli

    Modifica
    • Data di uscita
      • aprile 1961 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingue
      • Inglese
      • Ungherese
      • Tedesco
    • Celebre anche come
      • The Secret Ways
    • Luoghi delle riprese
      • Universal Studios - 100 Universal City Plaza, Universal City, California, Stati Uniti(Studio)
    • Azienda produttrice
      • Heath Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 52 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.85 : 1

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