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"Commandos Strike at Dawn," from 1942, is another propaganda that demonstrates the spirit of the Norwegians and their commitment to resistance.

This one is directed by John Farrow, with a screenplay by a man whose name would become synonymous with long novels, Irwin Shaw, and stars Paul Muni, Anna Lee, Lillian Gish, Cedric Hardwicke, Alexander Knox, George MacCready, Ann Carter, Rosemary DeCamp, and Ray Collins.

Based on a story by C. S. Forester, "Commandos Strike at Dawn" tells the story of more victims of Quisling, citizens of a small town that is taken over by the Nazis. After Eric Toresen (Muni) sees a friend murdered and another one (Collins) severely beaten, he gets some of the townspeople to form a resistance group.

When he realizes that the Germans are preparing for a huge air strike against England, he is determined to get the information to the right people in England and join the fight.

Very good film, if a little slow in spots. Muni gives an excellent performance as the bold Toreson, and Ray Collins, Lt. Tragg of Perry Mason, is cast against type as one who vocally opposes the Nazis, and he is very good. This was probably his favorite role, as it's so different from his standard tough cop or crooked politician role.

Lillian Gish doesn't have much to do, sadly, as his wife. Neither does Anna Lee, as the daughter of a British military man (Hardwicke) who falls for Muni.

Someone commenting here said that this film, and probably by inference, Edge of Darkness, exaggerates the role of the underground in Europe, that most Europeans were passive during the war, afraid of reprisal.

That may have been true in some areas - Germany most definitely - but that was not true in France and Norway, both of which had formidable resistance movements. Some people don't like bullies.

With the action coming in the last 20 minutes this isn't just a film about commandos. It is also a film about the Norwegians and how they, without commandos or training, but rather through gumption and nous, became a thorn in the side of the German occupation.

The simple plot of how a mild mannered Norwegian becomes a patriot is well told and they are many nice touches showing the Norwegian life at the time.

All in all a good war film, and one that while typical of the period has a heart and spirit about it that make it good viewing.

If it comes around and you like WWII films then catch it, it's well worth the time.

Although another of the "common folk against Nazi invasion and occupation" films, this one is better than most. The acting on all levels ranges from good to superior. The plot is complete and dynamic, and the technical elements, like music and setting, are extremely good. Amazingly, the accomplishments of Norway's underground during World War Two are more dramatic than those portrayed in the film. In addition to sabotage, the underground was able to cross and recross the Swedish border, many times to save Nordic Jews. In this instance, reality exceeds the fictional world of the movie industry. This is a well written dramatic film, well worth seeing and preserving!

Its propaganda roots are obvious now but still a well acted war drama about the struggle of Norway against the Nazi machine.

Paul Muni is strong in the lead. Famed for parts where he was under heavy makeup like Emile Zola and Louis Pasteur those performances viewed today are heavy and hammy whereas in plain clothes such as here and I Am a Fugitive from a Chain Gang he is far more naturalistic.

A cast of fine character actors all add texture to the film. Lillian Gish's part is small and mostly without dialogue but of course she could convey more with a look than most actresses with a telephone book worth of words.

There is a problem with this film in that it does not illustrate the depth of Norwegian resistance to the Nazi occupation of Norway. Of course, a short movie can only do so much, and in 1942 all nations, Allied and Axis alike were producing films at a rapid rate. It is even likely that little was known of the Norwegian underground and what was known certainly would not be put into a feature movie for all the world to see. However, the audience must not be left with the impression that the British attacks were the salvation of Norway. During the war some did occur, and some were helpful. It must be remembered that Norway is some distance from England, that the British had battles around the world to contend with, and that the North Sea and its horrid weather, combined with a demand on warships, forced Norway to deal with the occupiers on a more personal basis. Sabotage of materials sent to Germany was normal. Work slowdowns and "accidents" disrupted production. At places like Bergen, the underground was active and effective. In fact, a "mysterious" explosion of an Axis ammunition ship took place in Bergen harbor (said to be the second largest explosion in maritime history), supposedly as the ship was leaving for Narvik. Also, helpful was the fact that German soldiers generally disliked Norwegian postings. The German attack on Oslo was not without it losses. A German battleship (some say it was a large battle cruiser) on its first voyage was sunk in Oslo Fjord with all hands lost (except those saved by the Norweigans who could get to them in time in the freezing water.) Also lost were about 5000 German Troops who were housed below decks. Ironically, the battleship was battered by four large Austrian cannon that were purchased by Norway from Germany after World War One. The Nazis appropriated food, blankets and warm clothing for their forces on the Russian front. The Norweigans contaminated the sardines that were sent with castor oil, thereby making the cold Russian winters ever more unpleasant. Yes, the British helped some, to their credit, but clever Norwegian citizens did much more than blow up a few trains.

This movie has a strong story. It also provides a powerful and compelling dramatization of German aggression during World War Two. Paul Muni gives a strong performance as a man who decides to take action in response to the German aggression. What is most interesting about this movie, however, is how it depicts the war. The issues are framed plainly and starkly: it's either freedom or slavery. Paul Muni's character is a metaphor for every person who was struggling under the German yoke. Not only did the Germans invade, they plundered and terrorized the population. In the movie, their arrogance is boundless. Yet, it is not sensationalized; that is, it does not become the basis for showing gratuitous acts of violence. Rather, it is told plainly and with fanfare, thus driving home the point even more forcefully. Alexander Knox gives a chilling performance as the German Captain who is in charge of subduing the Norwegians. This is one of the better war movies and should be watched, not only for its value as a drama, but also for its historical content. Although not a documentary, it does portray a moment in history when Germany tried to impose its will on the rest of Europe.

Columbia delivered an interesting war propaganda film during WWII and COMMANDOS STRIKE AT DAWN, with Canada substituting for the Norwegian coastline. Although a little overlong and slowly paced at the start, it builds interest about midway and then never lets up being an absorbing war melodrama.

PAUL MUNI is a Norwegian fisherman who flees Norway after a witnessing a cold-blooded killing and then returns from Britain to take on the Nazis as a resistance fighter. The romantic angle has him in love with the Admiral's daughter, ANNA LEE.

The story opens in the blissful peacefulness of a Norwegian village, circa 1939 where Muni and Lee are enjoying the pleasantries of a wedding party and it soon becomes apparent that the scriptwriter Irwin Shaw spends too much time setting up the growing romance between Muni and Lee under John Farrow's leisurely direction. One can only hope that the pace of the story will quicken once the drums of war start beating and the Germans have started their invasion of surrounding countries.

Muni is understandably upset when he witnesses the murder of a young fisherman and the aftermath of a brutal beating by one of the townsmen (RAY COLLINS), and when he sees what the German invaders (led by Alexander KNOX) are doing to his village and that his young daughter (ANN CARTER) is being taught at school to hate non-Germans. On the debit side, LILLIAN GISH, as Collins' wife, has little to do but look worried. Stalwart ROD CAMERON is improbably cast as a Lutheran pastor who has to stand by while a young man is shot by a firing squad.

It takes a good forty minutes into the story before the resistance tactics start to kick in and Muni begins his vengeful acts against the Nazis. A scene involving Muni hiding in a well with his small daughter while the Nazis search his home is especially well handled. Muni's escape to England is the highlight of the story, a suspenseful scene involving one of the six men who is willing to betray them to the Nazis but whose plan has to be foiled by Muni's quick thinking action.

In England, Muni renews his relationship with the Admiral's daughter and the story moves toward a satisfying, if predictable, conclusion. All the performances are first rate, and after a slow start, the picture builds suspense, especially throughout the last half of the film dealing with the escape from Norway. The final skirmish at the airfield with the British taking the Nazis by surprise is as well staged as any action sequence in war movies of this era.

Not the best resistance story I've ever seen, but it's worthwhile for some very moving scenes and Muni's fine, understated performance as the determined Norwegian leader.

The film was particularly interesting for me as my father was stationed at the Canadian/RAF base in 1942 on Vancouver Island. He mentioned how gracious the star's were and that they took the time to visit the lads who were busy flight training. I have recently read an old RAF magazine called (The Patrician)about director, John Farrow and actor Paul Muni being livid after a British extra ruined a battle scene by laughing hysterically in front of the camera. The area of the secret German camp is actually a military/civilian firing range and is still active today. A set of over grown cement stairs that the Commando's used as they struggled up a steep bank can still be seen in the beautiful Saanich Inlet from the water 64 years later.

For we amateur historians this early WWII American propaganda film is a treasure for its insights into attitudes about the German conquest of Europe.

Among the first of a long line of American propaganda films, it was actually filmed on Vancouver Island in Canada, because of its similarity to the Norwegian landscape. Real British and Canadian commandos were used to play the soldiers, both British and German. {The British and Canadians who had been at war for over two years were eager to assist the newly arrived Americans becoming involved}. The cast and crew stayed at the famous Empress Hotel in Victoria, about 10 miles from the filming site.

The script was adopted from a story by C.S. Forester, the famous British novelist of naval and maritime stories. The script was done by Irwin Shaw who would become a noted American novelist.

The film is probably too idealistic in its portrayal of good-hearted Europeans rising up against their Nazi conquerors. Only after the war did Europeans concoct an heroic resistance. The vast majority at the time however passively accepted German occupation. And for good reason. The Germans took brutal reprisals against any sign of resistance. Unlike in the movie, most conquered peoples kept their heads down and waited for the Allied armies to save them. Nonetheless, the film probably reassured American audiences that Europeans were eagerly awaiting to help liberate the continent from Nazi oppressors.

Btw, I had the opportunity to discuss the making of the movie with Ann Carter, who at age 6 played "Solveig", the daughter of Paul Muni's character. I have added some of her recollections in the comments section.

Blaine in Seattle, U.S.A.

In 1939 Norway, peace-loving widower Paul Muni (as Erik Toresen) attends the wedding of a fisherman friend. There, he dances with leading lady Anna Lee (as Judith Bowen), daughter of visiting English admiral Cedric Hardwicke. She returns to England and Mr. Muni stays behind, only to witness wicked Adolf Hitler's Nazi forces invade his country. After the Germans demonstrate the expected brutality, Muni becomes a Norwegian resistance leader...

This pedestrian World War II propaganda story is not complimented by its own rewards. The Canadian filming location is lovely and the cast inviting. Especially noteworthy is the big screen return of legendary Lillian Gish (as Hilda Bergesen) after ten years focused on stage work, but in too small a role; Ms. Gish only punctuates how "Commandos Strike at Dawn" adds up to so much less than it should. There is certainly enough here, however, to recommend the film.

****** Commandos Strike at Dawn (12/30/42) John Farrow ~ Paul Muni, Anna Lee, Lillian Gish, Cedric Hardwicke

Reading the title, I'll bet you're waiting for a rip-roaring war picture, with fight scenes, explosions and guns blazing. But you would very mistaken, since this is a placid character study with a great deal of dialogue. There is a battle scene towards the end of the picture, but Director John Farrow was sorely in need of a competent second unit director. The battle has an artificial look to it and the explosions are small in scale. In one scene an allied soldier throws a Nazi to the ground, and plainly stabs the ground next to him, lending an amateurish quality to a heretofore passable film.

The story itself is good and depicts the Nazi onslaught into Norway, in particular a small hamlet in a spot of strategic interest to the Nazis. The acting is top shelf, with Paul Muni, Anna Lee, Cedric Hardwicke and Robert Coote in prominent roles. There are a few instances of suspense and tension but none are sustained. It's a good movie - but not if you're looking for a conventional war picture.

****** 6 of 10

In Commandos Strike At Dawn, Paul Muni is a Norwegian fisherman who does not like what the Nazis have brought in occupying his country. After a murder he resolves to leave Norway and do something about it.

As Eric Toreson, Muni has his most stoic role with the exception of Benito Juarez. But his facial expressions and the controlled anger in his voice tell the story than a lot of theatrics.

It's unfortunate that a better story could not be utilized for a man of his talents. I'm still struggling over the idea that before the war an admiral of the Royal Navy, Cedric Hardwicke together with his daughter Anna Lee, are visiting Muni's village. It certainly doesn't look like a vacation spot or that she would take up with Muni who was certainly beneath her in the European class system.

A year later Warner Brothers produced The Edge of Darkness also about the Norwegian resistance which starred Errol Flynn. Now Flynn was in no way in Muni's class as an actor, but as an action hero he certainly filled the bill.

Lillian Gish is in this film as the wife of Ray Collins who is picked up for his anti-Nazi views and tortured. For someone of her talents, she's given little to do.

Western fans will recognize B picture cowboy actor Rod Cameron in the role of the Lutheran parson of the village. George MacReady is the village school teacher in one of the few sympathetic roles he ever had on screen.

Doing double duty is Alexander Knox as the Nazi captain among the occupiers of the village. You can also easily recognize Knox's voice as the unseen parson blessing the British commandos as they embark on a raid near Muni's village.

It's typical World War II propaganda and if it weren't for the quality of the cast Commandos Strike At Dawn would barely be a blip on the nostalgia radar.

Most interesting is when Mr Bergesen, the outspoken man who had been trying to warn everyone else about the threats of the day said sarcastically to one of the German officers, "Your Norwegian brother is ready to enter the New World Order". Remember, the favorite line of G.H.W. Bush. His dad, Prescott funded Hitler. I also liked the message Eric told his daughter about people are bad, and people are good. People can make themselves better or make themselves worse.

During the war years, Hollywood made a bazillion war films. Compared to the rest, "Commandos Strike at Dawn" is better than average. However, what keeps it from being a great film is the dialog...which could have been better. What I mean by this is that the actors try to sound Norwegian...but come off much more like they are acting and putting on a broad accent instead of being believable Norwegians. My wife was shocked, as she'd always heard what a brilliant actor Paul Muni was...and she thought he and the other actors were awfully broad...and I would agree.

The story itself is a very good in that unlike many war films, this one portrays the Germans as being vicious...but not cartoonish as many films portrayed the enemy. Tough, believable and a good story....and improved considerably by a rousing finale. It's very good....but is at its best when it's not trying to be too faux Norwegian.

ChatGPT Plus Shot and released in 1942, Commandos Strike at Dawn emerges at a critical juncture of the Second World War, when Hollywood was still negotiating the boundaries between entertainment and national morale-building. At this moment, the U. S. had only recently entered the war, and the cinematic apparatus had not yet fully crystallized into the vast propaganda machine it would become later in the conflict. This film occupies that liminal space, where narrative restraint and subtle political messaging coexist with an urgent call to action. The result is a movie that-while often measured in its dramatic execution-clearly participates in the broader Allied ideological effort, even as it does so through the lens of a relatively contained, micro-historical episode.

Cinematically, the film is notable for its austere composition and rigorous staging, which depart significantly from the more bombastic visual language that would characterize later, large-scale productions such as The Longest Day (1962). Here, the cinematography favors static, painterly frames over dynamic movement, using the stark Scandinavian landscapes (actually shot in Canada) not merely as backdrop but as psychological terrain. Snow, wind, and silence dominate many sequences, underscoring a sense of moral and existential freeze-an effect not dissimilar from The Heroes of Telemark (1965), though this earlier film does so without the glossy modernist aesthetic of that Cold War-era production. There's a tactile harshness to the mise-en-scène that feels almost proto-neorealist, anticipating stylistic tendencies that would not flourish in Anglo-American war cinema until much later.

Technically, the film is disciplined, though not always refined. The editing is functional, sometimes even overly mechanical, cutting between static shots with a kind of didactic cadence that reveals its own industrial context. It's not clumsy, but it is utilitarian-emphasizing narrative clarity over rhythm or mood. This editorial rigidity arguably serves the propagandistic undercurrent of the piece: the emphasis is always on transmission of message over aesthetic experimentation. There are moments, however, where the film breathes-particularly in sequences set in the occupied village, where the camera lingers just long enough to allow a sense of civilian life to emerge, albeit filtered through an inevitably dramatized lens. The use of diegetic sound in these scenes is surprisingly subtle, sometimes allowing background conversations and environmental noises to persist under dialogue, lending the scenes a sense of immersion rarely found in contemporaneous American war films.

The performances are calibrated to the film's dual ambition: realism moderated by moral clarity. The protagonist's transformation is played with restrained gravity, avoiding melodrama but occasionally veering toward a kind of blank stoicism. Supporting characters are drawn with archetypal brevity-resistance fighter, collaborator, passive villager-but are performed with sufficient conviction to transcend their narrative functions. Notably, there's a tonal restraint that distances the film from the sometimes hysterical register of other early-war productions such as Back to Bataan (1945), which opt for a more emotionally immediate and less psychologically nuanced mode. Here, emotion is diffused, presented with a Protestant sobriety that mirrors the film's Northern European setting.

Comparisons with other sabotage-themed war films of the same period reveal the particular stylistic economy of this movie. When placed alongside Saboteur (1942) by Hitchcock, which also grapples with themes of infiltration and resistance, this film appears almost ascetic. While Saboteur is a tightly wound thriller operating within the American homeland, our film explores the broader implications of occupation and agency under foreign rule. The contrast is telling: where Saboteur is energized by kinetic paranoia and montage, this film is invested in moral stillness and narrative clarity. It favors confrontation not through surprise or suspense, but through accumulation of ethical tension.

There's also a discernible theatricality in the staging of group scenes-assemblies, secret meetings, farewells-which betrays the influence of wartime public theater and radio drama. These scenes function as civic rituals within the diegesis, and simultaneously as appeals to the viewer's sense of collective responsibility. It's an approach very much of its time, reflecting the domestic wartime climate of 1942: a society mobilizing its civilian population not just logistically, but emotionally and ideologically. The film's emphasis on communal courage, rather than individual heroism, distinguishes it from later, postwar treatments of similar themes, where personal trauma and moral ambiguity become more central.

Lighting and art direction contribute quietly but decisively to the film's mood. Interiors are dimly lit, with a chiaroscuro that evokes both literal and psychological occupation. The play of light and shadow becomes a visual metaphor for resistance, concealment, and compromised normalcy. This isn't stylization for its own sake; rather, it encodes the fear and ethical uncertainty that pervade life under occupation. The film avoids elaborate set-pieces or effects-driven spectacle-this is no Where Eagles Dare (1968)-choosing instead a visual vocabulary of modesty and immediacy, which suits its ambitions and its scale.

While one could accuse the film of being narratively cautious, especially when compared to later, more morally ambiguous takes on similar scenarios like Decision Before Dawn (1951), such caution is better understood as a function of its moment. The film was made not to interrogate war, but to galvanize a democratic imagination of it. That its story unfolds in a small Norwegian village rather than on a vast battlefield is not a limitation but a tactic-making war comprehensible at a human scale, and resistance imaginable in the vernacular of daily life.

Thus, the film remains valuable not for its innovation, but for its integrity. It is a film that neither indulges in spectacle nor retreats into abstraction. Its quiet formalism, its moral earnestness, and its subtle but determined call to action mark it as a compelling example of wartime cinema that takes its audience seriously-not merely as viewers, but as potential participants in the very struggle it dramatizes.

Hollywood sure made a slew of war films during World War Two, didn't they? Commandos Strike at Dawn falls into the niche of "Norwegian fishing village films", like Edge of Darkness, The North Star, and This Land Is Mine. I've seen all four, and this one isn't the best, even with its handsome leading man, Paul Muni.

Paul plays a peaceful widower with a young daughter, who slowly gets drawn into the underground resistance after the Nazis occupy his village and kill his friends. I've never seen Paul in a film with young kids before, and with the amount of affection he placed on Ann Carter, I thought she might have been his real daughter! She wasn't, but he just wanted to show the audience what a devoted dad his character was.

If you're going to watch one of these Norwegian fishing village movies, rent Edge of Darkness, even though it's upsetting. This movie is just too predictable, and it feels a little cheap.

Paul Muni Leads a Loaded Cast of Fine Actors in this Unusual Production that seems to have Spared No Expense.

Most of these Propaganda Types Made During the War were Rushed for Expediency with Low-Budgets on the Assembly Line.

This is a Highly Emotional Tale of Norwegian Resistance in a Sleepy Little Village that Wakes Up and Fines Nazis in Their Midst.

The Film Vacillates Between Family Angst, Brutal Torture, and Totalitarian Rule.

The Villagers Slowly Come-Together and Find Ways to Fight Back and Take a Stand.

This is Based on the Real-Life Strong Resistance of the Folks Against All Odds Against the Germans.

Gut-Wrenching and Powerful Scenes that Lead to a Bombastic Climax.

The Kind that had People "On Their Feet", the Flag Waving on the Fight Against Fascism.

John Farrow's Direction is Superb and Hits All the Right Notes in this Underrated, Little-Known War-Time Effort.

Definitely Worth a Watch.

Poor Norway suffered from particularly phoney depiction after Hollywood joined the war effort; and although shot in British Columbia the sunshine still looks more like California.

A young, dashing and tousle-haired Paul Muni adds a Norwegian to his gallery of foreigners, Alexander Knox is wasted in an under-written part, and twenty-five years after 'The Little American' Lillian Gish is cowering from modern Nazis rather than pickle-helmeted Huns.

There were a few of these wartime dramas designed to bring attention to the atrocities being carried out by the Nazis on the erstwhile peaceful people of Norway. This one finds "Eric" (Paul Muni) flee to Britain where he trains and returns to his homeland determined to wreak revenge on his occupiers and their Quisling allies and to help the British to successfully bomb an airbase being built at altitude that could be used to attack allied territory and shipping. It's all a bit meandering, however. Muni isn't really a very convincing Norwegian nor is Alexander Knox particularly menacing as a captain in the Wehrmacht nor Rod Cameron as the Pastor. Indeed, aside from Sir Cedric Hardwicke as the archetypal British admiral, none of the casting works especially well here - and coupled with some very wordy dialogue, that manages to drag this down a little into melodrama territory. It ends rousingly enough, though, and given it's purpose was largely propagandist - it does what is says on the tin. Watchable, but forgettable fayre.