Les insurgés

Though directed by John Huston, written by Huston and Peter Viertel, and starring Jennifer Jones, John Garfield, Pedro Armandariz and Gilbert Roland, 1949's "We Were Strangers" is a largely unknown film.

It is, however, an important one in the history of Hollywood as it was bankrolled by Sam Spiegel for Huston's new production company. Impressed with Huston, Spiegel went on to bankroll "The African Queen."

Commercially unsuccessful at the time of its release, the story concerns the White Terror of the Fascist government in Cuba from 1925-1933. When her brother, a member of the resistance, is killed, China (Jones) joins the fight to overthrow the government.

A plan is concocted by Tony Fenner, an American born in Cuba who is posing as a talent agent. The idea is to assassinate a high-ranking official and then set off a bomb at the funeral, killing the top people in the government.

The best scene in the film is between Jones and Pedro Armendariz, who plays a secret policeman, Ariete. He is deeply suspicious of Fenner and is sure that China is his lover. While the revolutionaries hide outside in the rain, he eats and bullies, threatens, and flirts with China, who is terrified but tries to keep calm. A taut, excellent scene.

All of the acting is excellent - Jones, wearing darker makeup and sporting an accent, is very good as well as beautiful. Garfield does a good job as Fenner, and Gilbert Roland is a standout. The last 15 minutes of the film are very exciting, with the last scene being poetic but failing to be upbeat, which was perhaps the intention. It's a downer.

A very good movie that for some reason didn't get everyone in it in trouble and accused of being a Communist - surprisingly, Garfield's appearance in the movie had nothing to do with his eventual blacklisting. I guess "We Were Strangers" was too obscure.

"We were strangers" is considered a minor film among all Huston's masterpieces of the era:"treasure of the Sierra Madre" "Key Largo" "Asphalt jungle'' or "African Queen" .But many of this director's works are sleepers :"a walk with love and death" "Heaven knows mister Allison" or " Reflections in a golden eye" -which was an accurate rendition of McCullers' novel- are good examples ,sometimes more praised abroad than in America.

"We were strangers " is in the center of Huston's work:one of his permanent features was failure ("treasure" "asphalt" "misfits" ).the heroes of "strangers" are in a way ,misfits:they do not mix with the people and they do not feel that history is moving faster than they do.Forget the political background which may seem,to some,naive and vague :sometimes we wonder whether the heroes themselves are believing in what they are doing:hear this little ditty one of them sings as a leitmotiv ("we are digging all day,we are digging all night" "We were strangers" shows Huston's fascination for death: it would reappear in the overlooked "walk with love and death" ,in the dance macabre at the beginning of " under the volcano" and it is even more glaring in the director's final opus "the dead' where one of the characters ,still alive,appears on her deathbed.

Fighting against the tyrants is one good thing:doing so by digging a tunnel to get to a graveyard to kill one of the men of the dictatorship,Huston challenges realism!"there are two parts in the cemetery,says Jones ,one for the poor,one for the rich" even in death...

Jones ,some kind of romantic passionnaria (the part was tailor made for her- and Garfield an idealist American are part of the odd couples who are numerous in Huston's work:"African queen" "Heaven knows..." or "Roots of heaven" or "the Barbarian and the geisha" or "Annie" or...you name it...

a Huston which should not sink into oblivion....

Cuba has descended into a corrupt dictatorship under former general Gerardo Machado y Morales. An underground opposition conspiracy is looking to overthrow the government through assassination advocated by American Tony Fenner (John Garfield). China Valdés (Jennifer Jones) is a simple bank clerk who turns to revolution when her brother is killed for distributing leaflets. She is recruited by Tony in a scheme to blow up most of the government.

John Huston's directing is visually compelling. The subject matter is compelling. What this movie needs is a more suitable rooting interest. Tony is shown to be callous early on. The only possible one is China. This should be her movie. She could be pulled into the revolution but still holding onto her ideals about saving the innocent. It needs to be much later before she finally realizes that neither side cares. Dismissing civilian casualties so early in the movie is really off-putting and leaves no one to root for. It's an interesting movie but it lacks a central character which can take the place of the audience.

The part of a fiery revolutionary in 1933 Cuba seems tailor made for John Garfield. Both his politics and screen persona mesh nicely in the role of Nick Fenner for him in We Were Strangers. As for his lack of Hispanic accent, we are told that he is of mixed Cuban and American parentage. I'm glad Garfield didn't try an accent, he looked downright silly doing one as Porfirio Diaz in Juarez.

John Huston directed We Were Strangers and even second drawer Huston is better than first drawer of most directors. The film is about a really far out plot for a Coup d'etat against President Gerardo Machado of Cuba in 1933. Garfield has sold them one a plan to assassinate the president and his entire cabinet by means of a bomb at a funeral internment. As it happens Jennifer Jones's house is located across from Havana's main cemetery. The idea is to first kill a right-wing Senator and then when the funeral takes place and the deceased is interred at the family mausoleum, to blow up the place as the president and a lot of top bigwigs are sure to attend.

The scheme involves tunneling from Jen's house to the mausoleum and We Were Strangers starts to resemble The Great Escape at this point. Jen's cooperative because her brother was killed by Machado's secret police, but something terribly unforeseen spoils things and the assassins are forced to flee.

In fact the something that is unforeseen should have been foreseen and Garfield should have come up with a better idea. But the drama of this film is the tension of these conspirators working together in close quarters and we the audience getting to know them. We Were Strangers at first, but they all become comrades during the shared experience of conspiracy. Besides John Garfield and Jennifer Jones, the other in the plot are Gilbert Roland, Wally Cassell, and David Bond.

Best performance in the film by far though is that of Pedro Armendariz as the secret police lieutenant. Huston might have seen Armendariz in a similar role in John Ford's The Fugitive which was set in Mexico. It was a good stroke of typecasting then because Armendariz is a truly hateful figure.

I looked up Gerardo Machado who was the president of Cuba at the time and he was overthrown in 1933 but not by these guys. Wikipedia describes him as an equal opportunity tyrant who had all factions hating him by 1933. He started out as a fighter and youngest general in the Cuban war for independence against Spain in the 1890s. But last year's freedom fighter has a way of turning into today's tyrant.

We Were Strangers in the Huston career comes between Key Largo and The Asphalt Jungle, both better films, but this one while the assassination plot is far fetched is carried along by the skilled direction of a fine group of players.

This film is an astounding anomaly to Hollywood film-making, in that it is openly supportive of armed revolutionary terrorism, even if it means the death of innocent people. And since it was made in 1949, by Columbia Pictures, just as the Hollywood Blacklist was beginning, it is even more unusual.

The quality of the film is first-rate—a taut, well-constructed thriller, with convincing characterizations by the actors and strong direction by John Huston. The fact that it is about Cuba, made 10 years before the victory of the Fidel Castro-led revolutionary forces, is more coincidence.

The revolutionaries are seen as intense fanatics, yes, but each with a justification for their zeal. They are seen as different from each other, occasionally at odds, but essentially united in their purpose. They openly discuss the rights and wrongs of revolutionary violence, and come to a consensus to go ahead.

Jennifer Jones is impressive, as are Gilbert Roland, Pedro Armendariz, and John Garfield. I can't think of another studio-made American feature like this one, worth seeing for both its quality and its unique place in American movies.