Chasse à l'homme

A noted big game hunter takes aim at Hitler and becomes the hunted. One of Lang's better American productions, a mighty fun thriller that gave him the opportunity to show where his sympathies lay. It does sag a little bit at times, but builds to an amazing climax. Lang's photographic style is evident, with gloomy cinematography that helps set the stage for noir. It's a treat to see Walter Pidgeon and George Sanders square off... two of the best voices in movies. And Joan Bennett (who always does terrific work with Lang) is great too, pulling off a reasonably convincing cockney accent, although her character throws herself at Pidgeon a bit too easily. The film provides a lot of thrills, traps and tension, and topical subject matter as well. A real treat, a movie that manages to be fun and yet isn't afraid to explore dark themes.

Fritz Lang loved to leave one's heart in one's throat with his story about how, in the 1930s, Adolf Hitler ordered him for a meeting. The Fuhrer had seen Metropolis and wanted Lang to be an official Reich filmmaker. Lang said, "Oh well yeah sure of course," and then fled the country as fast as he could, not even stopping to withdraw his bank account. In Hollywood soon after, Lang had a little window to clear the air with this dramatic thriller.

I know it seems like the plot is best withheld once you read as far as that a British hunter happens to all the sudden have Hitler in his crosshairs. I won't tell you anything more about that situation. But I will say the film is episodic. There is a chapter involving Roddy McDowell aiding and abetting, and another concerning a cockney streetwalker played by Lang regular Joan Bennett who very quickly falls in love with him, although the context and situation allow a more sensible reason for there to be an easy token love subplot than usual. The hero is played by Walter Pidgeon, a refreshing actor of the studio era owing to his guilelessness, his lack of any affectation, though it grows bothersome that he appears as a well-to-do Englishman with an inexplicable American accent.

The film's lasting issues crop up simply because of the fact that it was 1941. There are several moments where you will be absorbed in Fritz Lang's trademark approach wherein points on social evils and multi-faceted subtext sneak up on you, but other moments don the guise of a zealous, conventional pro-war film, but luckily, that assault on the Lang's ominous omniscience mostly ushers in during the final few minutes. For the most part, this underdog war picture, which the Hays Office claimed in the time and place's atmosphere which avoided entangled alliances and controlled any cultural exchange, showed all Germans as evil as opposed to other films showing both good non-Nazi Germans as well as evil National Socialists, is a very carefully laid, continuously ambushing and expertly played bit of watchful waiting.

Captain Alan Thorndike (Walter Pidgeon) is captured by the Nazis after having been caught aiming a rifle at Adolf Hitler. He insists that he wasn't consciously making an assassination attempt, that he was merely a hunter relishing the prospect of taking down "big game". They naturally don't believe him, and try to make him a sign a "confession" that he was acting on behalf of his government. He refuses to sign his name to a lie, and they proceed to torture him and set him up for execution, but he escapes. Soon he makes it back to London, but they continue to pursue him on his home turf. Fortunately, he receives the help of a street waif, Jerry Stokes (Joan Bennett), who quickly overcomes her distrust and becomes quite taken with him. He tries not to put her in harms' way while evading sinister Nazi officials such as the well-spoken Major Quive-Smith (George Sanders).

Fritz Langs' wartime film, based on the story by Geoffrey Household, may not suit all tastes because it doesn't actually have a sense of urgency, at least not all the time. It even gets lighthearted and romantic at times, as Alan and Jerry start hitting it off. There still are some wonderfully moody moments, such as Alan managing to sneak onto a ship (where a precocious lad, well played by a very young Roddy McDowall, helps to hide him), and the sequence where a Gestapo thug portrayed by an effectively creepy John Carradine tails Alan into a subway tunnel. You do worry for the safety of Alan, especially when the odds are so stacked against him. Pidgeon does indeed have an interesting "devil may care" quality to him at times, and he and the lovely Bennett do have nice chemistry. Ms. Bennett is appealing playing a "common" type of gal who relishes in the comfort of a mansion at one point. Sanders is excellent, delivering just the right amount of quiet, refined menace.

Langs' direction keeps you riveted, especially in the opening few minutes where very little dialogue is spoken. The material may strike some viewers as far-fetched, but in his hands it makes for stylish entertainment.

Eight out of 10.

Fritz Lang's Man Hunt is a remarkable achievement in visual suspense and editing. Lang sustains tension throughout by creating a series of plausible hurdles for the protagonist to deal with giving the viewer little time to catch their breath as he is hunted by the Gestapo from Germany to London.

British officer and renowned big game hunter Alan Thorndike (Walter Pidgeon)literally sets his rifle's sight on Hitler at Berchtesgarten but is foiled by security then tortured by the Gestapo to sign a confession. When he refuses they throw him off of a cliff to cover-up but his fall is broken and he manages to escape back to England on a tramp steamer where Nazi agents (England and Germany were not at war at the moment)continue to pursue him. Enlisting the assistance of a cockney streetwalker (Joan Bennett) he eludes their grasp until cornered in a cave.

Fritz Lang's complete command of the medium in Man Hunt is a master class in film-making. Timing, atmosphere, mise en scene, use of sound and editing deftly create a realistic world that morphs into Kafkaesque nightmare of unrelenting tension and suspense.

Pidgeon's Thorndike has a clumsy James Bond like quality and charm about him as he parries with head nemesis George Sanders Gestapo chief. Sanders is a fascinating villain displaying a fluent bi-lingual authority (another testament to Lang's superb ability at visual story telling) checkmating Thorndike continuously.

Within in this suspenseful framework Lang manages to comment on the English class system, hunting ethics, the enemy within and the need for US involvement in fighting Fascism without missing a beat. The score does some arm twisting but doesn't interfere too much with Lang's magnificent construction and follow through. Man Hunt is precision suspense film making at its best.

I just saw this film on the Fox Movie Channel (DirecTV Satellite, 9 p.m., May 12th) and enjoyed it immensely! As a big WW II movie fan, I'm surprised I hadn't seen it before. Several things struck me about it: Walter Pidgeon's devil-may-care performance, George Saunder's excellent portrayal of the Gestapo leader, and John Carradine's eminently creepy role as the Gestapo agent sent to London to track his prey.

Also interesting were the surprisingly eloquent characterizations of Hitler's regime by the characters. Rather than the usual, emotional propaganda-driven exhortations prevalent in war movies at the time, the writing seemed to make an effort to take a higher, more articulate stab at the regime and those who blindly followed it. The writing overall is superb, as is the direction by Fritz Lang. Even the almost overdone ending matches the story perfectly and leaves us wanting more. I'm surprised they didn't make a serial about it throughout the remainder of the war!

This is a classic, classic WW II propaganda piece that was suspensefull, engaging and a joy to watch. If I could get it in ANY format, it would be a permanent fixture of my collection. If you find it, record it!