robert-temple

This film entitled THE ROAD BACK in English is from a novel by Erich Maria Remarque (who wrote the famous ALL QUIET ON THE WESTERN FRONT) the title of which in German was DER WEG ZÜRUCK, which means THE WAY BACK. This story is essentially a sequel of the story to the earlier book, which was filmed in 1930. This novel had already been banned by the Nazi Government before the filming even began. The story begins on November 10, 1918, the day before the Armistice was signed ending the War. But the forthcoming Armistice is secret and no one knows it is about to happen. So we see a closeknit squadron of German soldiers in the trenches in France (they have been together in the trenches for four years, and they are the sad remnant of a once mighty force, most of whom had been killed) launch what they do not know will be their last nightly attack across No Man's Land against the Allied troops. The battle scenes are very powerful but unlike modern films we do not have to see all the blood and wounds up close, since men falling over and later suffering on stretchers suffices. There is a sequence where the German general goes across the lines under protection to the camp of Marshal Foch to sign the Armistice document. He complains that he wants to change some clauses but is told he must sign or else, so he reluctantly signs. The fighting will cease the following morning at 11 AM. Our squadron engages in some final skirmishing and is about to go the top again in an attack when one of them says to the others: "Listen!" They all listen intently, expecting the usual artillery fire, but there is nothing. One of them says in astonishment: "Silence." They cannot believe it. They had not heard silence for four years. And then they are notified by their officer, who has had the wire, that the War is over. The most moving shot in the entire film is taken from No Man's Land itself, as we see the German soldiers take off their helmets, lay aside their rifles, and slowly and cautiously rise up out of their trench and take the first steps across No Man's Land without anyone shooting at them. Subsequently, when sitting and discussing what has occurred, one of them says the most haunting line of dialogue in the film: "It's difficult to believe that no one will be killed tonight." All of this initial part of the film, directed by James Whale, is extremely effective and moving. And so is what follows immediately, namely the men being told they have to make their own way home now, and "there may be some buses or trains, or may not, but you are on your own now." Many of the men are from the same provincial town, where we next see their awkward return from War. And from this part on, the film is somewhat mutilated because, as the other reviewers of this film have pointed out, the Nazi Government insisted upon much of the film being cut, some comedic scenes inserted, and all the anti-Nazi elements removed. The film studio caved in under the threat that no one of their films would ever be allowed to be shown in Germany in future if they refused to do what the Nazis demanded. This kind of surrender to Nazi blackmail was common at that time, and most of Hollywood gave way to the threats. James Whale was so insulted that he walked out and the cuts and changes were made by others. Having obliged the Nazis, the changed film was banned by the Nazis anyway, so a total commercial failure was inevitable, as the total cost could never be recouped. Few people at home or abroad ever saw the film and it has subsequently been largely forgotten. But it is essentially a profound and compassionate portrayal of the difficulties of returning soldiers coming to terms with Peace. Some men are welcomed by their sweethearts who have been waiting for them, and some have been betrayed by their sweethearts. One instance of this reads to a terrible tragedy. We will never know what the James Whale version of the second half of this film was before the changes, as the studio destroyed the cut material to prevent it ever being reinstated. The futility of war and the brutalising of soldiers in combat is however forcefully and meaningfully portrayed. What survives of this film is still well worth seeing, and to us today the changes do not necessarily rankle as much as they did then. It is still a marvellous film made by an inspired director. It deserves to be better known. And it is historically informative, so would be good to show in schools.

This film directed by Nathan Juran boasts of having Boris Karloff in the cast, but he has only a supporting role as a doctor. Lon Chaney Jr. Is in a much smaller supporting role as a wild mute thug who attacks first and thinks later. Stephen McNally plays an evil count. Richard Greene plays the hero who is trying to expose him and his thugs. The Black Castle is where the evil count lives, surrounded by minions who will kill anyone at any time. The film is moderately good and easy viewing. There are lots of dangers, perils, and threats and plenty of action, and the theme throughout is 'the hunt', whether of men or beasts. There is also a 'buried alive' theme, with which the film starts. So brace yourself.

This technicolour extravaganza contains a lot of operetta performances but little plot or story. Boris Karloff plays the medical doctor to the Royal Vienna Opera. As such he looks after the company and cares for their throats and voices. He cared a bit too much for one of the voices and murdered a prima donna with whom he had become romantically obsessed, so that no one could ever hear her voice if she left him. But that was long ago and he was never caught. Now along comes another soprano who has almost the same voice. He goes over the top and decides he must kill her too. Well, the melodrama is a bit tepid. Not worth watching.