Le mouchard

This is an absorbing, exciting and thoroughly entertaining British POW drama which has a cast that reads like a veritable who's who of British character actors. Not one of them disappoints either, and there are especially sterling performances from Richard Todd, Bernard Lee and Richard Attenborough. In fact, it's a perfectly casted film which holds attention throughout, and has a plot which moves along nicely to a clever and quite novel conclusion. Although there are scores of similar films made on the subject, this is definitely one of the very best and, anyone who has not yet seen it will not be disappointed. Highly recommended!

Just watched it on Channel 4 and loved it, very good cast and overall very enjoyable.

Full of great actors including Richard Attenborough and Tony Todd A bit different from the usual escape movies, in that there's some intrigue and tension caused by a informer within the British ranks this results in the deaths of 4 British prisoners before they finally work out who it is.

I do like the 50/60 British films and this is another that i will definitely watch again.

Danger Within is directed by Don Chaffey and adapted to screenplay by Bryan Forbes and Frank Harvey from the novel "Death in Captivity" written by Michael Gilbert. It stars Richard Todd, Bernard Lee, Michael Wilding, Richard Attenborough and Dennis Price. Music is by Francis Chagrin and cinematography by Arthur Grant.

Northern Italy, 1943, a POW Camp. No matter how intricate the planning, how well executed, escape attempts are met by tragedy as the sadistic camp commander is waiting to not only foil the escape, but to also kill the escapees in cold blood. It can mean only one thing, there's an informer in the camp.

Packed with British thespian talent giving good turns, Danger Within serves as both a POW escape drama and a war time mystery thriller. The mystery element is a little undone since the informer is revealed to us the audience at the midpoint, but from there on in the suspense is amped up by way of wondering if the rat will be found, and if the amazing grand escape planned at film's end will succeed. With that, the second half of pic also serves as an escape procedural. Lots going on here, with plenty of slices of British humour into the bargain as well, while some of the dialogue is tough and the odd line is very much of its time; but in a good period setting way (for example; how wonderful to hear the word clot used as an insult again!). 8/10

A rare bright spot in a benighted genre, this British POW drama avoids familiarity not only by avoiding stiff upper lip and grey morality in favour of wit, tension and Hollywood stereotype, but also by a clever use of the metaphors of theatre. Most British war films parade their stifling docudrama-style 'realism'; this is often an excuse for imaginative paucity. 'Danger Within' uses the idea of play to question some of the received myths about the British Second World War.

Part of the novelty lies in its North Italian setting - we're so used to nefarious Nazis and brutal Japanese. Not that it makes much difference - the main villain, Capitano Benucci, is a Nazi-trained sadist, who imagines he's suavity incarnate with his sophisticated cigars, laidback walk, time goatie, and clipped, ironical speech. But the blanching sun makes a nice change, giving a parched, sandy feel, and the notorious stereotype of Italian incompetence makes the various plot points believable.

What makes this narrative absorbing is not the usual will-they-or-won't-they escape plot, but a kind of detective story. No matter how ingenious the efforts of the escape committee - and there is a brilliant one here involving sewers, light-switches, misplaced cigarettes and rugby posts- there is always the same welcoming committee of armed fascists ready to mow them down. It's clear there's an informer, but who?

The obvious culprit is a shifty-looking Greek. This is the film's first daring piece of iconoclasm. There is a lot of anti-Italian racism throughout, but that can be attributed to understandable wartime emotionalism, where contempt for what Fascism stands for is expressed in xenophobia. But the Greek's only obvious credentials for being an informer is the fact of being a Greek, a little small, sweaty, oily, you know, naturally sneaky. When his name is called at roll-call, a wit hurls a dead rat at the officer; we remember Nazi anti-Semitic propaganda that used similar analogies.

This is a strangely unideological war these men are fighting - there is no rhetoric about liberty and democracy; this is a prison film in which the criminals, all professionals, want to escape. Everything centres on the job in hand, with loyalty vouchsafed for anyone who agrees. This lack of sentimentality is refreshing an a genre stuffed with secular piety.

Even better is the working of the theatrical metaphors. The brilliant opening scene features a prisoner disguised as the commandant - their fatal meeting creates a mirror effect that echoes in the following narrative about, not only duplicity, but also people who don't seem to be what they are, including old fops who turn out to be very brave men. Of course, this is a situation where the Law are murderous criminals, and the prisoners are democratic saviours, ambiguous enough in itself. It creates a world where you don't know who to trust, especially dangerous in a situation where loyalty and trust need to be givens. This idea of acting and pretending (extending to the Capitano) culminates in the attempted escape during 'Hamlet', with the immortal Dennis Price in a mop wig as the Prince. It's a shame they couldn't have picked a more apposite play - King Lear, perhaps? - or worked it in better, with a play-within-a-play scene, for instance, to reveal the murderer. But that would have been silly, contrived, arty, and no British war film would ever be that. Michael Wilding is a bizarre sight in this testosterone heavy atmosphere; even more surprising is how excellent he is with his old queen patter and reserves of steel.

Interesting thriller set in a POW camp in Italy, with discreet yet well-executed cinematography throughout. The exceptionally chosen cast, including the presence of a young Michael Caine in a minor role, is very believable and performs superbly through a simple yet well-narrated storyline. The good, classically styled cinematography, well-structured dialogues with a good dose of English humor, precise camera work without technical showing-off, make this movie a classic in its genre and a delight for enthusiasts of war themes.

Perhaps life in the POW camp has been overly idealized, and the movie doesn't faithfully depict how harsh life has been for many prisoners in these camps. It might slightly trivialize the daily struggles the internees had to endure. However, it's worth noting that this is a comedy, not a documentary. Especially considering that at the time of filming, the relationships between countries-Italy, the United Kingdom, and partially France-were already of allied nations closely collaborating within NATO.

As is often the case in British productions, Italians don't come off entirely well. Even though in this film, they haven't been entirely ridiculed in their manners, undoubtedly, the highly successful ending with the escape of an entire camp isn't something that can be considered a fair portrayal of Italians, especially considering this is a historical fiction, and such an escape never occurred in any Italian camp under those circumstances.