Agent secret S.Z

Comedies such as 'ALLO 'ALLO have a lot to answer for. While watching some of the scenes where Violette Szabo (Virginia McKenna) is interrogated by the Nazis, I couldn't help recalling parallel scenes where Herr Flick (Richard Gibson) did exactly the same thing, aided (or is it abetted) by the leggy Helga (Kim Hartman) in the Lloyd/Croft British sitcom. This offers a good example of how time can modify our perceptions of a text.

On its own terms, however, Lewis Gilbert's film is a quietly understated biopic of a naive girl with a French mother (Denise Grey) who marries a Frenchman (Alain Saury) in a whirlwind romance. He loses his life at El Alamein, and Violette responds by becoming an agent parachuted into occupied France. Together with her partner Tony Fraser (Paul Scofield in one of his rare screen appearances) they accomplish one mission successfully, but things go horribly wrong when Violette embarks on her second, more dangerous assignment.

The film has some good action sequences, shot in and around Pinewood Studios, but Gilbert's principal focus centers on the characters' interrelationships - between Violette and her father (Jack Warner), who knows what she is doing, but agrees voluntarily to keep it a secret. Violette's relationship with Tony could bloom into love, but both know that they could lose their lives at any moment, so they agree to keep it platonic. McKenna portrays the central character as an ordinary woman with an extraordinary inner strength giving her the courage to undertake the missions while remaining determined to resist any attempts to force vital information out of her.

Her transition from ordinary homemaker to toughened agent is lucidly handled, as she is at first intimidated by and then learns to cope with her uncompromising NCO instructor (Bill Owen). It is a tribute to her strength that she learns to cope with various ordeals, of being ducked in the river, of walking home on a filthy wet night, and handling a shotgun. The training proves invaluable for her later on, when she has to take on a platoon of pursuing Nazis virtually single-handed.

Despite her hopes, Violette Szabo never made it back from the War, leaving her daughter Tanya (Pauline Challoner) to collect a George Medal from King George VI. As Tanya returns to her quiet suburban home with her grandmother and grandfather, we can but reflect that it was chiefly due to Violette's selfless efforts that Britain and the Allies managed to emerge triumphant from six years of conflict.

When I first saw Carve Her Name with Pride recently, I have to say I was really moved. This film is truly remarkable, I do agree one of two of the characters are somewhat clichéd, but on the whole there is very little wrong I can say about Carve Her Name with Pride.

The film is beautifully shot, with stunning cinematography effortlessly capturing the scenery. The score is also highly effective, while the script is honest and truthful, with some humorous and romantic spots, and the story, which is based on truth, is a remarkable one. The direction is excellent, the film does move at a reasonable pace and the ending had me deeply moved. And I have to say the acting is really good, Virginia McKenna especially is outstanding in the lead role, while Jack Warner and Paul Scofield are both excellent.

All in all, it is a great film, underrated and somewhat affecting. See especially for McKenna. 9/10 Bethany Cox

Virginia McKenna does a great job of portraying unsung British war heroine Violetta Szabo. Paul Scofield, perhaps the greatest actor of his generation, is equally magnificent as Tony. Lewis Gilbert allows the tale to unfold without much pomp and fanfare but with crisp direction and solid supporting performances, this merely adds to its power. The resilient score is also worth noting. Every time I finish watching this film, I cry, then I want to watch it again.

The recent film Charlotte Gray attempted a similar theme, at ten times the cost (even inflation-adjusted), twice the length, and one-tenth the impact. If you've seen Charlotte Gray, and made it all the way through, see Carve Your Name With Pride. You will adore it.

British Director Lewis Gilbert is unknown to most Americans. This is a pity because he has directed a number of "crossover" masterpieces and this true story of wartime heroism is but one of them. The movie reminds me somewhat of The Man Who Never Was, a spy movie which required a woman who had been through a recent tragedy, marvelously played by Gloria Grahame, to use that tragedy to make herself a believable spy.

Although she has excellent support by a young Paul Scofield and a non-too-shabby veteran cast, Virginia McKenna must pull off the central character, Violetta Szabo, in order for the film to succeed. She does so without question,and then some. If this movie does not bring tears to your eyes, no movie will.

Carve Her Name with Pride (1958)

A resolutely respectful and consistent movie, powerful in a quiet way, and serious to the core. These aren't really adjectives for an amazing movie--and it's not amazing. The story is amazing, since it's true, a British woman going undercover in WWII and having to suffer badly at the hands of the Nazis. And the movie depends on the story, rather than the movie, to succeed.

It does, in fact, succeed. It's a moving story well told. It lacks drama, and is sometimes quietly sentimental, which is part of the point, giving a human side to the spy and war business. The leading woman is someone not well known to American audiences, a rather straight forward actress, Virginia McKenna. But you might remember her from "Born Free," a very different kind of role but needing the same sharp seriousness. She's still alive, gladly, and was even in a film in 2010.

The movie here needs drama, frankly. It takes half the film to reach the German conflict in France, and it comes to the real drama, the horrors of being caught, in the last half hour. Which is to say, be prepared for lots of preparation, well done, but preliminary, and purposely undramatic. By that last part is good wartime stuff, with a woman as the main figure in the fighting and the aftermath. The prison scenes are cold and harsh in their own way, and yet I don't quite believe it would have been quite so calmly paced and deliberate, even in the hands of the Germans happily in France.