Quando Desceram as Trevas

Ministry of Fear is fun. It's lighter and less moody than one would expect from the premise of a man just out of a mental hospital being pursued by sinister forces, or from the knowledge that it was directed by Fritz Lang and based on a novel by Graham Greene. It certainly is not film noir, though Universal marketed the VHS release under that rubric.

In both spirit and look, Ministry of Fear resembles the war-aware Sherlock Holmes series that Universal was putting out at the time. If you, like me, have a taste for that bracing brew of riddles, perils, improbabilities, and good manners, you should enjoy this. You can even look forward to seeing some familiar faces from the casts of the Holmes films.

One day after watching Ministry of Fear for the first time, I can't remember a single exterior shot that seems to have been taken outdoors. There may be some, but the impression that remains is that the film was shot entirely under shelter, just in case the Nazis brought the Blitz to California. This dim, artificial "interior world" setting works in a casual way to achieve a dream-like quality. However, we never get the deliberately nightmarish artistic effects that made Lang's reputation. Promising scenes in a séance parlor or a fortune-teller's tent are developed only enough for narrative purposes, not for atmospheric ones. The resulting narrative is always engaging, but it never becomes involving. It doesn't systematically draw us into a labyrinth of intrigue like Hitchcock's Foreign Correspondent or Norman Foster's Journey into Fear, but entertains us with a string of incidents. It's as if Lang were skipping stones on a pond for our amusement instead of daring us to go in for a midnight swim.

That all sounds negative, but it simply means that Ministry of Fear succeeds in its mission: to show us a good time if we're prepared to have one. The tone is set by the casting of Ray Milland in the lead. Milland is a personal favorite among film protagonists, an everyman who enables everyboys to believe (however vainly) that they can grow up to be big, handsome, unmistakably well-bred, and equal to any challenge without selling their boyish, fun-loving souls. Milland had a maturely magisterial look about the eyes even in his youth; and yet even in later years, when he was the archetype of the self-possessed patrician, he seemed to delight in rolling those eyes or smiling with mischievous glee. His kind of everyman is an inverted, self-made kind. He might be, say, a younger son of a baronet: fully equipped with social graces and education, but unencumbered with responsibilities, appearances, or an embarrassing amount of money. We often find him dislocated from the well-ordered world that he was apparently born to, but destined to settle back into it when his high spirits have carried him through some danger. However saturnine he may look in a publicity still, he'll probably take us on a lark when the projector starts whirring. And so he does in Ministry of Fear.

The plot? Well, it's about a man just out of a mental hospital being pursued by sinister forces. He also pursues them in return. Along the way, he meets a young woman played by Marjorie Reynolds. When she starts to speak, it may seem for a moment that she's doing an awful British accent, but it turns out to be a tolerable German one. She plays a refugee from Austria who is running a charitable organization with her brother. What becomes of her, the brother, the private detective who serves as the hero's funny sidekick, or villain Dan Duryea (who supplies the awful British accent), must remain shrouded in deepest mystery until you see the film. When you do, please remember that Fritz Lang had to eat like everybody else, and just sit back while he entertains you.

Although the script may have been a little uneven (and I have no idea how it relates to the book by Graham Greene), but for a couple of hours on a Saturday morning this was some good noir fun. Hints of Hitchcock lent a creepiness to the atmosphere. Things were also somewhat unpredictable, which is important for any mystery. Nicely done.

Man released from mental hospital gets innocently involved with Nazis because of a cake.

There are more than enough compensations in this flawed thriller to keep viewers' eyes glued to the screen. But what I'd really like to see is the movie Lang wanted to make instead of this one, the version producer-writer Miller and the Production Code insisted upon (IMDB). Not that this version is unworthy, but it's not hard to see Lang's sensibility competing against Miller's turgid screenplay. Unfortunately, the scenes follow in no particular order, while the several genuinely good plot ideas (the many clever snares) lose impact because of murky development. Too bad there wasn't a streamlining re-write. Couple that revision with Lang's visual talents and a first-rate thriller of Hitchcockian proportions would have resulted.

At least producer Miller popped for some impressive sets to accommodate Lang's expressionist vision-- the very last scene may be the only sunshine shot in the entire 90- minutes,(the requisite happy ending). The narrative may be muddled, but several scenes are memorable—the sinister blind man, the frantic search for the cake, the final unmasking. Each shows an expert blend of form with content.

Unfortunately, the movie is also harmed by spotty casting. Milland is okay, but he is a better actor than he shows here, which is perhaps Lang's fault. A serious flaw, however, is Reynolds (Carla) who shows way too much American malt shop to pass as a European, even as the sister of the very European Esmond (Willi). Then too, I'm as big a fan of Duryea as anyone. But one thing he's not by any stretch is a British tailor. For that reason, it's probably just as well his part is surprisingly small. On the other hand, there's the stately Hillary Brooke (Bellane), always an impressive blend of brains and beauty, along with a very smooth and affable Carl Esmond, both of whom deliver in spades.

I wanted to like the movie more than I do. But, it's really a movie of parts rather than a satisfactory whole. With better casting and cogent narrative, the results could have been truly exceptional, instead of the flawed thriller it unfortunately is.

In Lembridge, during World War II, the inmate Stephen Neale (Ray Milland) has just been released from the Lembridge Asylum after two years of compulsory confinement. While waiting for the train to London, Stephen visits a charity fair promoted by The Mothers of Free Nations and the clairvoyant Mrs. Bellane gives a tip to him and he receives a cake as a gift.

In the train, Stephen shares his cabin with a blind man. Out of the blue, the man steals the cake and run through the field with Stephen chasing him. However, he hides in a house that is bombed by the airplanes and dies.

In London, Stephen investigates The Mothers of Free Nations organization and he meets the siblings Carla Hilfe (Marjorie Reynolds) and Willi Hilfe (Carl Esmond) and Stephen goes with Willi to the house of Mrs. Bellane (Hillary Brooke), who is a different woman from the fair. She invites them to participate of a séance and a man is murdered. Stephen is accused and escapes, and Carla finds a hideout to him. Sooner Stephen finds that he is a pawn in a Nazi spy ring and he does not know who is trustworthy.

"Ministry of Fear" is film-noir of espionage by Fritz Lang with a man getting involved in a spy ring in London during World War II. The plot is only reasonable and the motivation for Stephen Neale to get further and further in his investigation is not clear since he had been advised to avoid problems with the police. Anyway the film is entertaining and for fans of Fritz Lang, it is worthwhile watching it. My vote is seven.

Title (Brazil): "Quando Desceram as Trevas" ("When the Darkness Has Fallen Down")

What a team! Graham Greene and Fritz Lang. What an actor! Ray Milland. What a movie! This one will stay with you for awhile. Though Greene did better work, i.e his masterpiece the screenplay for "The Third Man," and Lang did better work, "Metropolis, "M," "Fury." Together they make "Ministry of Fear" sizzle.

Today just about any movie from the 40's and 50's shot in black and white with darkness, rain, or shadows is labeled film noir. I don't really know if "Ministry of Fear" is a film noir as such but I do know it's great film making, somewhat along the lines of Hitchcock's "39 Steps." Ray Milland as Stephen Neale is mistaken for a go between espionage agent, called Cost or Travers depending on the circumstances, played to perfection by Dan Duryea. Neale guesses the weight of a cake as foretold by a fortune teller. Obviously the cake is valuable because immediately upon realizing their mistake the spy ring sets out to frame and kill Neale to retrieve the tasty morsel. Not to be missed is an exciting sequence aboard a train involving an alleged blind man. The rest of the movie filled with suspense, mystery, and intrigue involves Neal teaming with Carla Hilfe (Marjorie Reynolds--later of television's "Life of Riley" fame) and her brother to catch the culprits and discover what it's all about. Gradually Neal comes to suspect even Carla herself though by this time he's fallen madly in love with her. The feeling seems to be mutual. The denouement is a showdown between Neal and the spy ring which is exciting and a logical way to wrap up the movie.

Ray Milland walks off with the show even though the rest of the cast gives him able support. It's easy to see that Ray Milland was well on his way to winning the Oscar the very next year for his standout performance in Billy Wilder's "Lost Weekend." It was just a matter of time before his acting talent would be formally recognized. It's a good thing "Lost Weekend" came around for Milland for he never again played a role that so suited his abilities as an actor, though he still had many years ahead of him to be on the big screen.

The script is a witty one with many good lines. Though Lang's direction is good there are a few boring parts following the frame-up. A few more blind man type scenes would have helped tremendously. Still a very good espionage thriller of the old school with a title that reaches out and grabs you to make you want to see what the "Ministry of Fear" is all about.