Resisting Enemy Interrogation

An American bomber crew is captured and brought to a German interrogation camp. The soldiers are ordered to only give their names, ranks, and serial numbers. The soldiers resist all information gathering at first, but they soon fall prey to the Nazis' subtle and clever methods.

This is filmed like a regular movie with a regular story. It has Hollywood production and Hollywood actors. It is intended for military training and shown to soldiers. It does get turned into a movie after the war. It is actually quite effective in showing the sneaky ways of getting information although they don't show the most brutal methods.

I had heard of this film over the years, and finally got to see it today. This is a clever use of film for training American flyers to clam up if they are captured. Our flyboys end up in the clutches of the clever Germans, who use all kinds non-violent means to soften up the unsuspecting GI's to give up info on an upcoming raid.Others have commented on the Germans using torture to get information, but it is known now that Herman Goering, who made sure the Luftwaffe kept shot down flyers, would not allow that. Lloyd Nolan's opening and closing lines are terrific. He gives the lesson it's exclamation point very well. I give it an 8 out of 10. Look for it to come on again and record it if you have to, just to get a glimpse of WWII film-making.

Low-budget army training films seldom get nominated for an Oscar. But that is what happened with this longer-than-usual 1944 effort by the Army Air Force, instructing American aircrews in how to resist interrogation when captured.

It starts with quite a good joke. While being driven to the prison camp, the crew are chatting in the back of the van, when the German sergeant turns round and barks at them "You will not talk!" Their leader answers quietly and significantly "No, we will not talk." That is, of course, their brief - just to give their name, rank and number, as decreed under the Geneva Convention. Anything more, however trivial, could be added to the enemy's intelligence jigsaw, perhaps revealingly.

The main theme is that the interrogators will probably be trying methods more subtle than whips or knuckle-dusters. Such as innocent small-talk to relieve the boredom of camp life. What could be wrong with that? And for the officers, perhaps a little drink in the mess? Hmm...

Bit by bit, through careless revelations (even the trees have ears), their mission is revealed, almost in its entirety, though the enemy are still having to guess at the key question - which big city is the bombers' target? How they figure this out is a triumph of ingenuity, which we cannot reveal here.

In black-& white, the uniforms all look the same colour, so we aren't always able to distinguish between captives and captors. (I had always assumed that prisoners could not wear headgear, but it seems they did.) Also it sounded at first as though there was a musical code to indicate penalty-points for an indiscreet statement, but this turned out to be an illusion, rather disappointingly. Meanwhile we are left wondering how the Americans would have known so much about enemy interrogation techniques, unless they were simply replicating their own. And noting that Oscar nomination, this must have played to a large civilian audience, for whom it would have been doubling as a propaganda film. As such, it doesn't leave you hating the enemy as much as it should. But even after 77 years of vast changes in warfare, the message remains just as valid as ever: silence is golden.

Thanks to TCM for giving us an opportunity to see this gem. Made by the Army Air Force's famous First Movie Unit well into the war (1944), this is one of their most polished efforts. It has a simple, but effective narrative: a US air crew of 5 is downed by the Nazis, who use every trick in the book (short of torture) to pump information out of them: ingratiation, intimidation, deceit and psychological welfare. None of the downed fliers means to co-operate with the enemy, but each in his own way contributes some information to their clever Nazis captors, which is then pieced together by the Nazi commanding officer, somewhat flamboyantly portrayed by Carl Esmond. The consequences are disaster.

The point of the film as a training device (forcefully driven home by Lloyd Nolan in the closing sequence) was that ANY information, no matter how innocent or trivial seeming on its face, could complete the jigsaw puzzle for Nazi intelligence services. All that should EVER be revealed to ANYONE outside your own crew once you were captured was name, rank and serial number. A simple lesson, you would suppose, but for 70 minutes (rather lengthy by the genre's standards, I think) the point is expertly honed by a fairly effective little drama.

In addition to Nolan, the other "big name" actor here is a young Arthur Kennedy, who appeared in many excellent films over the following quarter century.

...and director Bernard Vorhaus. An American bomber crew, shot down over enemy territory, is captured and brought to a villa for interrogation. There are no torture or other hardcase tactics used. Instead, the Germans use subtle psychological manipulation, electronic surveillance, and other techniques to amass intelligence on future bombing missions. Featuring Lloyd Nolan, Carl Esmond, Arthur Kennedy, Steven Geray, Craig Stevens, Don Porter, James Seay, Peter Van Eyck, and Kent Smith.

This is a military training film that uses fictionalized events to illustrate real-world problems and solutions for air combat crews. It was meant for military use only, but got a screening in New York City that made it eligible for a Best Documentary Feature Oscar. That seems like a stretch, as this is a scripted movie with actors playing parts, and not at all what I would consider a documentary.

It's entertaining in its depictions of the various sneaky techniques used to ferret out info. I liked one scene where the American being subtly questioned catches on and "reveals" info about the US's brand new Flash Gordon fighter jets equipped with disintegrator rays and "magnetic arcs". This was remade as a mainstream feature in 1951 titled Target Unknown, which also featured Steven Geray.