49ème parallèle

Michael Powell and Emeric Pressberger's artistic collaboration at the start of WWII benefits from a powerhouse cast.

Clearly propaganda, the cast and crew apparently came from all parts of the world to lend their talents for a "mutual cause." With strains of Ralph Vaughn Williams's score woven into the cinematic fabric, Pressberger's elaborate story is expansive and involved.

The Oscar nominated film is worth watching, and it's interesting to see Raymond Massey's speech as a G.I. so very Yank-oriented, without a trace of the mannered style he later acquired. Leslie Howard is well cast as a poetic, philosophical dreamer. However, it's Anton Walbrook who really surprises with an uncharacteristic subtle naturalistic style.

This is apparently the project Elizabeth Bergner used to defect from Germany to the U.S., leaving the film for Hollywood (and Glynis Johns to take over the role). The actors playing Nazis are all quite strong.

Released a couple of months before the bombing at Pearl Harbor, this is a propaganda film aimed at rallying the world against the Nazi threat. After a disjointed start, it slowly gathers momentum and ultimately proves to be a satisfying adventure about a group of stranded Nazi soldiers surreptitiously trying to make its way across Canada. Although Howard, Olivier, and Massey get top billing, they have small roles. Olivier is a hoot as a French Canadian. Interestingly, Vaughan Williams gets above the title billing for his fine score, although it is underused. Powell, working from a script by partner Pressburger, tells the story in a stark, documentary style.

When I first saw the title of this movie, I thought it was about the Korean War. But then I realized it was 1941, and well before the troubles in Korea. The story of this film is interesting because it was seldom done (except for One That Got Away). Canadian WW 2 films on Canadian soil were seldom examined. The cinematography is outstanding, but that should be no surprise as Michael Powell was renowned for his talents. It is interesting to note the attitudes of the times, but a little American propaganda was sprinkled in for good measure. Not too bad a show.

Emeric Pressburger wrote the book which inspired this movie called " 49th Parallel " or 'The Invaders' and which was later directed by Michael Powell, neither could have dreamed, such a small movie could have ever garnered such world wide attention. From it's inception to the finished scene, one is impressed by the remarkable journey of the main characters and their trek through the rugged Canadian wilderness. That journey begins when a German U-Boat surfaces in the waters of Canada. Stopping for supplies, the Submarine is suddenly attacked by the Canadaian military and within minutes is sunk. Only a handful of men escape and they proceed to the interior of the country where they hope to be rescued by German compatriots. all the while they kidnapped, maim and murder anyone who confronts their Nazi Philosophy. Throughout the rest of the movie the Germans which include their leader try to blend in wherever they travel weather it be through religious settlements or high mountain campsites. For American audiences, it's disturbing to visually search for the international actors like Laurence Olivier, Leslie Howard and Raymond Massey scattered throughout the film. Still, it's worth it as they do so well at keeping our interest glued to the screen. It's also noteworthy to learn the film and it's author as well as the director secured a multitude of awards. Therefore, the movie is easily recommended to any and all seeking entertainment. ****

You'd be tempted to think that there's no way '49th Parallel (1941)' could have turned out anything less than excellent. Not only do Michael Powell and Emeric Pressburger perform their famous double-act, but there's also the equally-enviable partnership of David Lean (here working as editor) and cinematographer Freddie Young. But we must remember that in the realm of WWII propaganda there lie dangerous waters, and only the most talented filmmakers (so far, I count Hitchcock, Wilder, Renoir, Curtiz and Reed) can navigate their war-themed picture towards any degree of lasting respectability. We can certainly add Michael Powell to that list of famous names. '49th Parallel' is different from most of its contemporaries because it presents the film solely from the German point-of-view. The portrayal is not favourable, of course, and at least their commander reeks of pure evil, but the German characters are nonetheless humanised to no small extent. These aren't cold, immoral monsters, but ordinary people, swept up in euphoric Nazi ideology and pining for the simpler life they can barely remember.

When a German submarine is destroyed in Hudson Bay, Canada, the surviving Nazi soldiers – led by the fiercely patriotic Kommandant Bernsdorff (Richard George) – must navigate their way across the country into the then-neutral United States of America. The native citizens they meet along the way are largely jovial and laid-back, many hardly aware of the war raging across the Atlantic, and the Germans haughtily deem them foes unworthy of the Fuhrer's might. But these Canadians, as placid as they first seem, can surely recognise fascism when they see it, and each of the soldiers is picked off one by one, like the characters from a war-themed version of Agatha Christie's "And Then There Were None." Among the unwitting local patriots is French-Canadian trapper Laurence Olivier – a caricature but an entertaining one – anthropologist/author Leslie Howard, and grinning deserter Raymond Massey, each of whom shows the Nazis that they're dealing with an enemy whose sheer spirit overshadows all of Hitler's armies combined.

The film was apparently intended as a tribute to Canada's involvement in the war, and perhaps – as was Hitchcock's 'Foreign Correspondent (1940)' – a call-to-arms for the then-isolationist United States, who would hold back until the Japanese attack on Pearl Harbour in December 1941. Many of the film's characters remark upon the sheer remoteness of the war relative to their own lives, unaware that it is actually standing before them; this idea was almost certainly aimed at American audiences. After the brilliantly suspenseful first act at Hudson Bay, I initially felt that the film was going off track by continuing to follow the Germans after their aerial departure from the remote village. However, as time wore on, I began to appreciate what the film was aiming for. Though the snow-swept slopes around Hudson Bay may seem leagues away from the Canadian/American border, Kommandant Bernsdorff and his ever-dwindling band gradually progress their way south, until, not only does he reach the border, but he physically crosses into the United States. The War had never been closer.