La croix de Lorraine

A story of courage and defiance of the French people following their surrender to the Germans in 1940.

French soldiers who surrendered are duped by the Germans and are instead taken to a prison of war camp where they are subjected to the most terrible conditions.

Gene Kelly, in a non-singing role, is one such soldier. Punished for hitting German soldiers he is locked in solitary confinement.

In his brief appearance as a priest, Cedric Hardwicke shines as a brave, defiant messenger of the Lord. He pays the ultimate price for attempting to conduct a religious service for someone shot trying to escape.

There is also treachery and collaboration on the part of Hume Cronyn, a prisoner who because he could speak German was made an interpreter by the latter and apparently this went to his head. He also pays the ultimate price as in the ironic case of Peter Lorre, a German soldier caught up in an escape attempt and mistakenly killed by his fellow Nazis.

The ending shows the determination and courage of a local village. This film is a tribute to such people.

The film is hopelessly marred and scarred by its propaganda nature, which brands it with a character that debases it for history when the war once is over, which is a pity, for it's a great story with great actors, who all do their best, and there are some instances which are more realism than propaganda, especially towards the end, as the intrigue thickens, when prisoners start to escape.

It's Jean-Pierre Aumont's film, he is the most interesting character, as you never really know where you have him, as he constantly has to change footing according to what is happening around him, while finally his character emerges in full glory. Gene Kelly is also quite good as an impossible slugger who is completely quashed by Peter Lorre and his Germans, but his annihilation is not quite complete. You can't keep down Gene Kelly for long.

It's the boy in the end who introduces the cross of Lorraine and lifts the whole performance to a higher level. This is very far from one of the best war films, but it certainly has some good scenes worth seeing.

....and really shines in this shockingly violent film, which makes up in nail-biting tension what it lacks in subtlety. The scenes between Gene and Peter Lorre in the prison cell are as brutal as anything from the era, and the big escape scene with Jean Pierre Aumont driving the get-away ambulance will put you on the edge of your seat and keep you there. Kelly's acting chops are really showcased here, as his cocky, defiant spirit is shattered by his prison experience, transforming him into a broken emotional invalid.

But that's BEFORE the final moments of the film. When the wily, dashing JeanPierre unexpectedly turns the tables on the Nazis, we see a brief close-up of Kelly's tormented face, the explosive will-to-fight rekindled within him---a split-second image that continues to dominate my memory of this film 40 years after having first seen it on local TV.

A solid, extremely intense, and entertaining morale booster produced during the war's darkest days. The ending is so over-the-top it's almost operatic----but you'll stand up and cheer!

LR

PS-- Just watched the film again today (Jan 27, 2014); it's so darn good that I'm upping my rating from 8 stars to 9 Why? Because it is so expertly structured, paced, and directed. Each scene gives you JUST ENOUGH vital information to identify with the characters and the manner in which they evolve--especially Jean-Pierre Aumont and the way in which he takes over Duval's role as liaison with the Nazis and, in spite of the deterioration of his relationship with his comrades, gradually begins to hatch his daring plan to secure their release and that of his pal Gene Kelly.

Also, the interplay between Jean-Pierre and Peter Lorre, who changes in an instant from sadistic bully to flustered, subservient lackey when his commanding officer chews him out for his incompetence, is deftly scripted and carefully guided by director Tay Garnett's hand.

Other examples are the separate scenes between Jean-Pierre and Gene in the office of the camp commandant--- once again, superbly scripted and executed onscreen.

These are but a few examples of the superior craft that went into the making of this totally overlooked gem.

Basically the story of the French resistance during the early '40s when the Nazis overtook France, THE CROSS OF LORRAINE is a forerunner of films like STALAG 17, but without the humor. Instead, it's a straightforward dramatic tale of the harsh treatment meted out to the French POWs in a German prison camp.

There are no real surprises in the plot--you know from the beginning that there will be an escape plan being hatched by JEAN PIERRE AUMONT, who takes over when the former translator/informer HUME CRONYN meets his fate at the hands of prisoners. Aumont and GENE KELLY have the leading male roles and both give earnest performances in this gritty drama directed by Tay Garnett.

Although it appears to be a low-budget film, there's a splendid supporting cast including SIR CEDRIC HARDWICKE, RICHARD WHORF, PETER LORRE (as a despicable German sergeant), WALLACE FORD and Joseph CALLEIA.

Film is engrossing all the way through but suffers from an ending that pushes the propaganda envelope too far as the French resistance overcomes the Nazi recruiters while Aumont and Kelly take aim with machine guns to help destroy a bunch of bad Nazis.

Summing up: A flag waving tribute to the French resistance, it's well done for most of the way but that ending is too over-the-top to be taken seriously.

Directed by Tay Garnett, who was a Naval pilot in WWI, this war drama has substance. French soldiers, believing that WWII is over, unwittingly surrender to German forces and are placed in a POW camp. A terrific and realistic look at being held prisoner under the thumb of the Nazis. A very good collection of talent featuring: Jean-Pierre Aumont, Gene Kelly, Hume Cronyn, Sir Cedric Hardwicke, Peter Lorre, Wallace Ford and Richard Whorf.