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THE CROSS OF LORRAINE

(M-G-M)

OR about three-quarters of its length this is much better than average drama — a study of the reactions of a

varied group of #£rench sO0ldiers in a German military prison, to which they are sent when their country surrenders. Tay Garnett, the director, has treated the subject with some insight, and his Frenchmen steer clear of many of the clichés of behaviour which screen characters in such circumstances are commonly forced to adopt. All of them are not cast in the heroic mould; some of the bravest lose their nerve at times and have spasms of doubt, while at least one (Hume Cronyn) is frankly a collaborationist, not so much because he lacks the courage to resist as because he can see no point in resisting. The priest (Sir Cedric Hardwicke) meets a martyr’s death when he conducts a forbidden religious service, but not before he has wavered and been on the verge of seeking an easier way out. Though the leading character, a young lawyer (Jean Pierre Aumont), redeems himself finally by organising a prison break and joining the Resistance Movement, his civilised instincts revolt against the summary justice meted out to the collaborationist by his fellow-prisoners, and he is for a time under grave’ suspicion of co-operating with the Nazis himself. Only one man in the group has motives and reactions that are as clear-cut and devoid of sentiment as his captors’and he is not a Frenchman but a Spaniard (Josef Calleia) who has learnt what ruthlessness means in the Civil War. He expects no mercy and is prepared to give none. So long as the players are in the prison-camp or in process of getting out of it back to France, The Cross of Lorraine is intelligent, brutal, emotionally disturbing-and remarkably well acted. It is propagandist, naturally, but the propaganda is inherent in the subject and does not obtrude too obviously on the action. Of course, if you question the assumption that this is the normal way in which the Germans treat their prisoners — especially French prisoners -then you may reasonably question the validity of the whole film. But such doubts will not arise in the minds of more than about one per cent of any audience. More debatable from all points of view is the finale, when the escaped prisoners link up with the Underground, assist the inhabitants of a

village to revolt against the Germans and to scorch their earth, and then lead them all off into the false light of a Hollywood dawn. 2

This article text was automatically generated and may include errors. View the full page to see article in its original form.I whakaputaina aunoatia ēnei kuputuhi tuhinga, e kitea ai pea ētahi hapa i roto. Tirohia te whārangi katoa kia kitea te āhuatanga taketake o te tuhinga.
Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/periodicals/NZLIST19441027.2.18.1.1

Bibliographic details
Ngā taipitopito pukapuka

New Zealand Listener, Volume 11, Issue 279, 27 October 1944, Page 13

Word count
Tapeke kupu
425

THE CROSS OF LORRAINE New Zealand Listener, Volume 11, Issue 279, 27 October 1944, Page 13

THE CROSS OF LORRAINE New Zealand Listener, Volume 11, Issue 279, 27 October 1944, Page 13

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