Avant que vienne l'hiver

Following the abysmal 'Eye of the Devil' J. Lee Thompson and David Niven have teamed up again for ths film set in a displacement camp. Faced with a veritable Tower of Babel the commanding officer Major Burnside is sorely in need of an interpreter but is sent someone who knows only Ancient Greek and Latin. Luckily he stumbles upon a prisoner who is multi-lingual. Burnside turns a blind eye to his probably being a deserter but then his Russian counterpart starts to ask questions....... Music can make or mar a film and the score by Ron Grainer is terminally irritating. The scenes between the Cockney and Russkie soldiers are decidedly naff. As for the principals Topol is okay as the interpreter but his appeal has always eluded me. Anna Karina's talent and beauty transcend a thankless role and Anthony Quayle is brilliant as a Brigadier who calls to mind Peter Ustinov's observation that 'the Army is the final repository of the fool'. The film really belongs to Niven. It is not at all unusual to see him in uniform but behind his character's military persona there is a resignation and world-weariness which is very touching. Decidedly one of his best post-Oscar performances. This film should have been better but is alas another of this directors near misses.

David Niven stars in this rather unremarkable post-war comedy drama set in an Austrian camp that sorts out and repatriates displaced people. He leads the British contingent with Ori Levy ("Capt. Kamenev") his Russian counterpart with whom he has an uneasy sort of truce. Topol is their charismatic interpreter/peace broker "Janovic" who oils the wheels of their procedures - but he has a secret and when Niven and the Russian find out, he finds life becomes quite precarious. The comedy struggles, to be honest - Niven tries hard, but Topol too hard - neither seem to really want to be here. The presence of the naively optimistic young "Lieut. Pilkington" (John Hurt) and the cynical "Brig. Bewley" (Anthony Quayle) - who is aware of an incident in Niven's past, suggests that there is an underlying message in the film, but nothing really hits home. There are duty versus compassion clashes, and imperialist versus communist ones too - but the setting and characterisations don't support any real substance to these, and the films flails a bit before an ending that is surprisingly robust.

This starts out as a rather tongue-in-cheek rendering of life in a camp for displaced persons after the war in 1945 somewhere near the Austrian border. There are many humorous incidents but eventually the film's message does get serious later on.

I'm amazed at the abundance of illustrious actors making up the cast -- David Niven as Major Burnside; Topol as the effusive interpreter; John Hurt playing the youthful but intense Lieutenant Pilkington; and Anthony Quayle as Brigadier Bewley.

There are moments of deep friction in the camp between British and Russian troops on various zoning matters including the fate of the interpreter who happens to be Russian.

Although there is a fair amount of drama and mature content throughout, I have the impression that this film has been an easy interlude for all these great, serious actors. Anna Karina as Maria the local girl is a lovely addition to the cast.

The scenery is fabulous of course, being filmed on location in Austria. It is somewhat of an offbeat script, however it does hold one's attention through to the end. This movie is one I missed out on all these years so am glad to have had to opportunity to finally see it. For me such good actors can't help but create an absorbing drama.

When the film was released, Columbia booked it as a 2nd feature. Personally, after trying to sit through it, the studio probably should have shelved it, not necessarily for content, but because that use of flashy zooms became so difficult to sit through that I headed for the lobby more than four times.

In this instance zoom meant zooming in - cut - zoom out - zoom in-cut-zoom out all the way through the film.

The use of zoom lenses in motion pictures was a new tool for filmmakers at the time, but its application here made the film impossible to sit through, at least in a theatre. Until now, thought it had all but disappeared forever.

Not sure if time has changed any of this.

David Niven makes a very remarkable performance here as an unwilling soldier in charge of a refugee camp (in the times of 4 million displaced persons in Europe) in Austria, where he has to send many paperless refugees into the Russian zone, where they have nothing good to expect in the days of big brother Stalin. He has a sore past that aches, but as a major in charge he has to stick to his stiff uppper lip, no matter what difficult trials he has to go through again. Topol makes a brilliant performance as the multí-lingual interpreter with many tricks up his sleeve, born in a cart between Tiflis and Tashkent, and he makes the best of it and is thoroughly entertaining, until the bleak reality of no peace after a war sets in, This is really a tragedy of several deep bottoms, and although David Niven is already thoroughly disíllusioned and Topol already is acquainted with the worst and has learned the hard way to survive, John Hurt as the young greenhorn still has his disillusions ahead of him, and they will strike him hard. Fortunately there is Anna Karina for a well needed sort of comfort to all of them. The film is more serious than it seems, it tries to appear like a comedy, and there certainly are comic ingredients, but the comic gloss cannot hide or smooth over the cruelty of the reality. Although the dark side of the Stalin regime should have been universally known to the world already after the Stalin trials of 1936, the west was amazingly naïve about Stalin and the true nature of his "communist paradise", as Roosevelt allowed himself to be duped by him and Churchill actually believed in him - until the cold war was a blatant fact, some time after the peace of the second world war, which never really ended but only took on less obvious inhuman activities of darkness.