Gestapo

Carol Reed directed this wartime spy-thriller. And though it may feel routine, there are individual scenes and performers who remain vivid: the flippant egoism of Rex Harrison's British agent; the vulnerability of Margaret Lockwood's wartime refugee; the naked sensitivity of Paul Henreid's villain. All in all, an interesting romantic triangle.

The story opens in 1938, as the camera tracks into Hitler's mountain retreat over Berchtesgaden, and we witness the dictator ordering the Czech occupation. Hitler desires not only territory, but the talented scientists within - geniuses such as Axel Bomasch, an industrial wizard who barely eludes capture, flying safely to England. There, he is safeguarded by a British Intelligence officer, code name "Gus Bennett" (Harrison). However, the Germans succeed in arresting Bomasch's daughter, Anna (Ms. Lockwood). imprisoning her in a concentration-camp where she befriends fellow inmate Karl Marsen (Henreid). They both successfully escape and sail a tramp steamer for England: Anna, to re-unite with her father; and Marsen, to make contact with those who share his real allegiance - to the Third Reich. With the help of a double agent (Felix Aylmer), Marsen abducts both Bomasch and Anna, who are transported to Berlin. Bennett, angry at his own lapse in security, volunteers to travel to Germany disguised as an officer of Hitler's High Command in order to retrieve the pair.

The film then accelerates into a series of tense confrontations between Bennett and those he hopes to dupe, in both Berlin and on a train to Munich. The action culminates in a skillfully directed chase scene climaxing on the Swiss border, where the term "cliff- hanger" takes on literal meaning. Along the way, there appear various secondary characters - the 'team' of Basil Radford and Naunton Wayne, for example, are thrown in for their droll underplaying ("No copies of Punch?! Hmmm. Must have sold out."). But the real comic relief is provided by Irene Handl as a German stationmaster who, in one scene, brushes off Radford and Wayne like so much confetti. Her expert scene-stealing marks the highest moment of levity in the film.

The one element in Carol Reed's storytelling that always distinguished him as a director was a quality he shared with Jean Renoir - the generous feeling he conveyed toward all of his characters. Human flaws and defects such as professional incompetence and blind allegiance are noted but tolerated. The rigid bureaucracy of a dictatorial government is deftly satirized in the character of a German civil servant (Raymond Huntley) who, when confronted with a forged document, is asked by his Nazi superiors if he knows what this means. The bureaucrat politely replies, "Yes. It means I shall have to sack my secretary."

And in "Night Train's" final frame, we observe Henreid's Nazi, jilted in more ways than one; yet Reed frames him sorrowfully, as if he were a sort of Universal Everyloser. Reed's sympathy, again, extends to all. Such unusual compassion on the part of a director is what finally separates "Night Train" from other war propaganda films.

"Night Train to Munich" (1940) is a smaller and lighter Carol Reed film, a little uncharacteristic, but nevertheless very good. The stars are Margaret Lockwood, Rex Harrison, Paul von Henreid, Basil Radford and Naunton Wayne. A Czech scientist is taken to England for safety so the Nazis won't get him or his work when the Czechs invade, but his daughter Anna (Lockwood) is captured and sent to a concentration camp. While there, she meets Karl Marsen (Paul Henreid as Paul von Henreid) who recognizes one of the Nazi officers at the camp as someone he knew, and the man helps both of them to escape. Once in England, she contacts her father through a performer, Gus Bennett (Harrison), in reality a government agent. Unfortunately, she and her father again fall into enemy hands, and Randell disguises himself as a Nazi officer in order to return to them England.

Very suspenseful with great chemistry between the two stars. What helps make this film, though, are Radford and Wayne of "The Lady Vanishes" fame, who are hilarious as two airhead train passengers, one of whom recognizes Harrison as British, though he's in Nazi regalia. The two were an extremely popular pair and appeared together in several films.

Very good.

I disagree with the user who commented that these two fine characters are a couple of "English Dolts". English they most certainly are and that is the point. Dolts they are most certainly not. The writer uses them as comic relief and to parody the British Middle and Upper Class mentality that ignored Facisim in Europe for so long. Their preoccupation with cricket, tennis and golf is but a tool. Mistaking "Mein Kampf" for a marital aid is both a joke and a jab at English ignorance of matters concerning the Continent. One can almost here them make that classic comment attributed to another Englishman; "the Wogs begin at Calais." Their bumbling actions are an example of English self deprecating humor. I have enjoyed these two characters in a number of films and only wish they had appeared in more.

Carol Reed's wonderful and interesting style of suspenseful film (seen in all its glory in 'The Third Man') is evident in this early spy flick. Rex Reed is an OSS operative who must journey deep into the heart of the Third Reich to rescue an important scientist before the Nazis can make full use of him. The characters are not just two-dimensional although they may seem that way; they use every trick and opportunity to get through their sticky situation. The sudden appearance of two of the characters from Hitchcock's 'The Lady Vanishes' is a real treat, too!

The story itself is very intricate, with crosses and double-crosses and random occurances causing problems in our hero's way. The film is successfully able to weave genius storytelling, great acting, and effective cinematography to make it an intriguing spy film that is surely ahead of its time! And the finale is certainly an indicator of what the James Bond films would bring us years later.

Even though it was filmed in the beginning of WWII, it is not a stereotypical, or dull, film. A must-see!

"Night Train to Munich" is a rather conscious attempt by director Carol Reed to imitate the style of Alfred Hitchcock, and it succeeds much better than do most such movies. It is an entertaining blend of suspense and humor, with a good cast and some enjoyable scenes.

Margaret Lockwood stars as the daughter of a Czech scientist pursued by the Nazis. She escapes their clutches once, but is again captured, and a British spy (Rex Harrison) has to go undercover to try to save her and her father. Lockwood and Harrison are joined by Paul Henreid, and also by Basil Radford and Naunton Wayne, who had appeared with Lockwood in Hitchcock's "The Lady Vanishes" and appear here playing the same humorous pair of English travelers.

There are a lot of action sequences and a couple of good twists, with the crucial action taking place on a train. It's all done nicely, with an exciting finale as well. Some parts of it may be rather implausible, but the same could have been said of a few of Hitchcock's films, and this is only slightly less polished than his are. "Night Train to Munich" is quite entertaining in its own right, and is definitely worth seeing.