La vingt-cinquième heure

There are many, many older movies that deserve to be transferred to the DVD format. This is surely one of them. An Anthony Quinn triumph! Scores of movies portray the victims of Nazi atrocities before and during the war, but, I don't think any of them have delved into the psyche of the victim and predator as well as this this one has. Anthony Quinn was truly a man for all seasons. He had the ability to portray the humblest of creatures devoid of any human vises to a creature of extreme animalism and pull it off as believable to the audiences who watched with no afterthought of what they had just witnessed! Truly one of our greatest artists. He is missed.

We don't know why this extraordinary film was never made available officially on DVD... Anthony Quinn's performance alone makes this a must-see. There are relatively few films in which an actor identifies so profoundly with his character, a phenomenon always unique for us, moviegoers.

But Quinn's powerful portrayal of an innocent Romanian, literally dragged out of his house and everyday life by forces he cannot comprehend, is only part of what makes this film great. The script is based on a book published in Paris by a Romanian priest who fled the Communist take-over of his country, and the film succeeds to go deep into a little known area of East-European history. Told as a succession of Kafka-esquire twists of fate, the misadventures of Johann Moritz (told openly and honestly, without any of the political correctness currently so precious in Hollywood) are in fact a eulogy for the lost innocence of the Romanian people... it is devilishly ironic that this eulogy is signed by a French director, working with the American money of an Italian producer, and overseeing a multinational cast fronted by an extraordinary Mexican-born thespian.

I've seen mentions of VCDs of this film in various Asian internet stores, and I was fortunate to take possession of a digital recording of this film, broadcast on the British version of TCM. But it's a shame that "The 25th Hour" isn't anywhere on the future DVD release map of MGM studios.

The naive Catholic Romanian peasant Johann Moritz (Anthony Quinn) is happily married with the gorgeous Suzanna Moritz (Virna Lisi). The local sergeant Dobresco (Grégoire Aslan) is a wolf and lusts Suzanna that rejects him. So he includes the name of Johann in the list of Jewishes in the village and he is sent to a forced labor camp for Jewish. Johann explains to the commander that he is not Jewish while Suzanna unsuccessfully seeks out authorities trying to fix the mistake, but she is forced to divorce from Johann to keep their house. Johann finally accepts to join a group of Jews to escape from the camp to Bulgary. However he is captured again and sent to a concentration camp. However, the SS commander believes there is a mistake since he has the profile of the perfect Arian and Johann joins the SS. After the end of the war, he is sent to a prisoner camp and judged in Nuremberg when he finally knows the fate of Suzanna.

"La vingt-cinquième heure", a.k.a. "The 25th Hour", is a great movie with a heartbreaking story of wickedness, naivety and injustice in World War II. This movie forces the viewer to understand the chaotic condition of Europe after this war in every aspect. Anthony Quinn has a wonderful performance and Virna Lisi is perfectly cast in the role of a beautiful peasant. My vote is eight.

Title (Brazil): "A 25ª Hora" ("The 25th Hour")

Unlike the majority of movies from the 1960's which date quickly - 'The 25th Hour' - is as fresh as if it had been made yesterday. It withstood being watched recently (late in 2003) and was as good, if not better, than any blockbuster films released that year. A seriously commendable tribute - thirty-six years on. Normally, Quinn is an actor that I find hard to watch, however, this role was tailor-made for him.

'The 25th Hour' is unlikely to ever find a large audience in the future, or be re-released. Such a pity. Anyone undertaking media studies now or in future years would surely find a wealth of cinematic technique and craftmanship contained in this epic story. One of the other reviewers, here on IMDb, has rightly classed this timeless film as "a forgotten gem". Spot on. It's refreshing to find an original slant on anything from WWII. This movie is totally unique. Well Done to all those involved in its making.

I caught up with this movie on TV after 30 years or more. Several aspects of the film stood out even when viewing it so many years after it was made.

The story by the little known C Virgil Georghiu is remarkable, almost resembling a Tolstoy-like story of a man buffeted by a cosmic scheme that he cannot comprehend. Compare this film with better-known contemporary works such as Spelberg's "Schindler's List" and you begin to realize the trauma of the World War II should be seen against the larger canvas of racism beyond the simplistic Nazi notion of Aryan vs Jews. This film touches on the Hungarians dislike for the Romanians, the Romanians dislike of the Russians and so on..even touching on the Jews' questionable relationships with their Christian Romanian friends, while under stress.

As I have not read the book, it is difficult to see how much has been changed by the director and screenplay writers. For instance, it is interesting to study the Romanian peasant's view of emigrating to USA with the view of making money only to return to Romania and invest his earnings there.

In my opinion, the character of Johann Moritz was probably one of the finest roles played by Anthony Quinn ranking alongside his work in "La Strada","Zorba the Greek" and "Barabbas".

The finest and most memorable sequence in the film is the final one with Anthony Quinn and Virna Lisi trying to smile. The father carrying a daughter born out his wife's rape by Russians is a story in itself but the director is able to show the reconciliation by a simple gesture--the act of carrying the child without slipping into melodramatic footage.

Today after the death of Princess Diana we often remark about the insensitive paparazzi. The final sequence is an indictment of the paparazzi and the insensitive media (director Verneuil also makes a similar comment during the court scene as the cameramen get ready to pounce on Moritz).

The interaction between Church and State was so beautifully summed up in the orthodox priest's laconic statement "I pray to God that He guides those who have power to use them well."

Some of the brief shots, such as those of a secretary of a minister doodling while listening to a petition--said so much in so little footage. The direction was so impressive that the editing takes a back seat.

Finally what struck me most was the exquisite rich texture of colors provided by the cameraman Andreas Winding--from the brilliant credit sequences to the end. I recalled that he was the cameraman of another favorite French film of mine called "Ramparts of Clay" directed by Jean-Louis Bertucelli. I have not seen such use of colors in a long while save for the David Lean epics.

There were flaws: I wish Virna Lisi's character was more fleshed out. I could never quite understand the Serge Reggiani character--the only intellectual in the entire film. The railroad station scene at the end seems to be lifted out of Sergio Leone westerns. Finally, the film was essentially built around a love story, that unfortunately takes a back seat.

To sum up this film impressed me in more departments than one. The story is relevant today as it was when it was made.