Horas de Tormenta

Lillian Hellman, one of America's most famous women playwrights, was a woman with a mission. Her leftist views were not well regarded at the time in the country. In her memoir, she recounts her trip to the then, Soviet Union, as she was intrigued with the so called successes achieved by that system. "Watch on the Rhine" must have come as a result of those years. The left wing in America, as all over the world had an issue with the rise of fascism, not only in Europe, but in Japan as well.

"Watch on the Rhine" was a play produced on Broadway eight months before the Pearl Harbor attack by the Japanese. In it Ms. Hellman was heralding America's entrance in World War II. The adaptation is credited to Ms. Hellman and Dashiell Hammett, her long time companion. As directed for the screen by Herman Shumlin, the film was well received when it premiered in 1943.

We are introduced to the Muller family, when the film opens. They are crossing the border to the United States from Mexico. They are to continue toward Mrs. Muller's home in Washington, D.C., where her mother, Fanny Farrelly, is a minor celebrity hostess. The Mullers, we realize are fleeing Europe because of the persecution there against the opponents of the advancing totalitarian regime in Germany. In fact, we thought, in a way, the Mullers could have been better justified if they were Jewish, fleeing from a sure extermination.

We find out that Mr. Muller has had a terrible time in his native land, as well as in other places because his outspokenness in denouncing Fascim. Little does he know that he is coming to his mother-in-law's house that is housing one of the worst exponents of that philosophy.

The film offers excellent acting all around. It is a curiosity piece because of Bette Davis' supporting role. Paul Lukas, repeating his Broadway role, is quite convincing as Kurt Muller, the upright man that wants to make a better world for himself and his family. Mr. Lukas does a great job portraying Kurt Muller, repeating the role that made him a stage luminary on Broadway.

The other best performance is by Lucile Watson, who plays Fanny Farrelly, the matriarch of this family. Geraldine Fitzgerald is seen as Marthe de Brancovis, a guest of the Farrellys, married to the contemptible Teck de Brancovis, a Nazi sympathizer, played by George Coulouris. Beulah Bondi, Donald Woods, and the rest of the supporting cast give good performances guided by Mr. Shumlin.

The film should serve as a reminder about the evils of totalitarian rule, no matter where.

Many of the criticisms on this thread seem to pick a comparison of this film with "The Mortal Storm" or "Casablanca". Everyone is entitled to compare films they choose, but the similarities of "The Mortal Storm" and "Watch On The Rhine" are clearly the problems of refugees threatened by the Nazi juggernaut, while the main comparative point brought out with "Casablanca" is the seeming unjust treatment of Humphrey Bogart in 1943 by the Academy of Motion Picture Arts and Science, because they chose Paul Lukas instead for the Best Actor Oscar. It does not strike me as totally wrong. Lukas had a good career in film (both here and in England - he is the villain in "The Lady Vanishes"), and this performance was his best one. Bogart had more great performances in him than Rick Blaine (for instance, he was ignored for Sam Spade in "The Maltese Falcon" and Roy Earle in "High Sierra" two years earlier, both of which were first rate performances, and he would not get an Oscar for his greatest performances as Fred C. Dobbs in "The Treasure Of Sierra Madres", the writer/murder suspect in "In A Lonely Place", and Captain Philip Francis Queeg in "The Caine Mutiny" afterward - he got it for Charley in "The African Queen"). I think that Bogie should have got it for the role of Dobbs, but it did not happen. But Lukas was lucky - he got it on the defining performance of his lesser career. Few can claim that.

To me the film to look at with "Watch On The Rhine" is based on another play/script by Hellman, "The Searching Wind". They both look at America's spirit of isolationism in the 1920s and 1930s. "The Searching Wind" is really looking at the whole inter-war period, while "Watch On The Rhine", set in the years just proceeding our entry into World War II, deals with a few weeks of time. Therefore it is better constructed as a play, and more meaningful for it's impact.

The film has many good performances, led by Lukas as the exhausted but determined anti-Nazi fighter/courier, Davis as his loyal wife (wisely keeping her character as low keyed as possible due to Lukas being the center of the play's activities), Coulouris as the selfish, conniving, but ultimately foolish and ineffective Teck, Lucille Watson as the mother of Davis and Geraldine Fitzgerald (as Coulouris' wiser and sadder and fed up wife), and Kurt Katch, who delivers a devastating critique (as the local embassy's Gestapo chief) about Coulouris and others who would deal with the Nazis. It has dialog with bite in it. And what it says is quite true. It also has moments of near poetry. Witness the scene, towards the end, when Coulouris is left alone with Lukas and Davis, and says, "The New World has left the scene to the Old World". Hellman could write very well at times.

Given the strength of the film script and performances I would rate this film highly among World War II films.

This was another high-profile Oscar-winner (for Paul Lukas as Best Actor) which had eluded me thus far; the film is a topical, i.e. wartime, Warner Bros. drama which served as both a prestige production and a vehicle for their No. 1 female star – Bette Davis. Still, the actress is content here to play second-fiddle to Lukas – much as had been the case with the classic comedy THE MAN WHO CAME TO DINNER (1941), co-starring Monty Woolley. Perhaps not coincidentally, both were inspired by plays and, consequently, proved verbose and stylistically limited; indeed, the only other film helmed by Broadway director Schumlin was the loose Graham Greene adaptation CONFIDENTIAL AGENT (1945), as it happened, another espionage thriller.

Anyway, WATCH ON THE RHINE (scripted by popular crime novelist Dashiell Hammett – whose THE MALTESE FALCON had been thrice filmed by the studio in the space of a decade! – from the original by his partner Lillian Hellman) also bore a striking resemblance to another recent Warner Bros. effort, CASABLANCA; previewed in December 1942 but opening for general release the following year, it ended up competing with the film under review in some of the top Oscar categories (including Best Picture, Actor and Adapted Screenplay). It is telling, however, that for a movie that underwent major changes during production, CASABLANCA holds together much more firmly than the stolid WATCH ON THE RHINE and, needless to say, also caught the public fancy to a much greater extent – remaining one of the most fondly-remembered Hollywood classics to this day!

The comparisons between the two films involve the chase by Nazis for an underground leader: here, it is anti-Fascist German Lukas (quite fine under the circumstances, if frail-looking for the requirements of the role and evidently struggling with the rich dialogue – invariably delivered in a Hungarian accent he never managed to shake off, like his compatriot Bela Lugosi!) who has come to Washington to stay with the family of wife Davis (who seems perennially on the verge of tears here!); also living there are a rather wasted Geraldine Fitzgerald and her ill-suited and impoverished Romanian aristocrat partner George Coulouris, sympathetic to the Third Reich (represented by Henry Daniell and Kurt Katch) despite having fallen out of favour with them. Indeed, when he suspects Lukas' true identity, he realizes it is a chance for him to once again enter into the Party's good books! Davis' relatives (outspoken society mother Lucile Watson – the other Oscar nominee here – and debonair brother Donald Woods, who carries a flame for Fitzgerald) at first are confused by the intrigue but, when it comes to choose sides, they obviously pick up the cause of the Resistance. While the confrontation scenes between Lukas and Coulouris easily emerge as the film's trump card, the speechifying does make for heavy-going viewing (with the schtick relating to the Lukases' indoctrinated yet wide-eyed children tilting proceeding dangerously towards outright boredom!).

Before I started watching "Watch On The Rhine" I was thinking I hadn't seen it before, but then the opening scene looked familiar, and I realized I had seen it before only I had slept through most of it. Last night I was more determined to make it through the film, so whenever I felt myself nodding off I got up and jogged around the room. I got a good work out in. Movies adapted from plays frighten me because there is a strong chance that the performances and the dialog will not have been liberated from the stage on their way to the screen. I thought "Watch On The Rhine" suffered from a poor adaptation. It rarely felt like a movie to me. Much of the dialog and scenes went on way too long (and no I'm not judging this on the pacing of current movies). The actors entered and exited scenes like they were in a play. Most importantly I think the ending could have been stronger. I think it should have been revealed that Bodo was really Hermann Gohring in disguise.

Probably my all-time favorite movie, a story of selflessness, sacrifice and dedication to a noble cause, but it's not preachy or boring. It just never gets old, despite my having seen it some 15 or more times in the last 25 years. Paul Lukas' performance brings tears to my eyes, and Bette Davis, in one of her very few truly sympathetic roles, is a delight. The kids are, as grandma says, more like "dressed-up midgets" than children, but that only makes them more fun to watch. And the mother's slow awakening to what's happening in the world and under her own roof is believable and startling. If I had a dozen thumbs, they'd all be "up" for this movie.