A British Film, made and recorded at Ealing Studios, London. U.S. copyright 1 May 1942 by Ealing Studios, Ltd. Released through United Artists. New York opening at the Rivoli: 23 May 1942. U.S. release (in a version cut to 91 minutes): 15 May 1942. Australian release through British Empire Films: 30 July 1942. U.K. release: 10 January 1942. London trade show: November 1941. 9,470 feet. 105 minutes. Re- issued in the U.K. in 1946, cut to 89 minutes.
SYNOPSIS: Dismissed from the service for alleged cowardice and insubordination, an officer (John Clements) later redeems himself by heroically Where have we heard that story before? The Four Feathers, starring John Clements, for one. Convoy, starring John Clements, for another.
COMMENT: Drearily directed, stiff upper-lip, wartime romantic melodramatics which — if you can last the distance — suddenly burst into a marvelous all-action climax. The miniature work here is absolutely top-notch (if slightly undermined by a few inter-cut shots of stock footage). Though nicely photographed, the rest of the movie, alas, is either wearisomely corny and tediously clichéd or just plain boring.
Clements' off-hand, casually unattractive performance doesn't help. Nor do the routine impersonations by Leslie Banks, Basil Sydney, Michael Wilding (who has a large role, despite his lack of prominence in the cast list), Michael Rennie (who has a small part), Charles Victor and company. Some of the players even venture towards the ludicrous, particularly Edward Chapman as a cheapskate blowhard of a Greek and Cecil Parker as a ruthless Gestapo commander. The girls are no better. Overly made-up Ann Todd as a nightclub singer (dubbed, of course) and impossibly dowdy Jane Baxter (shortly to return to the stage) are hardly our cups of tea.
SYNOPSIS: Dismissed from the service for alleged cowardice and insubordination, an officer (John Clements) later redeems himself by heroically Where have we heard that story before? The Four Feathers, starring John Clements, for one. Convoy, starring John Clements, for another.
COMMENT: Drearily directed, stiff upper-lip, wartime romantic melodramatics which — if you can last the distance — suddenly burst into a marvelous all-action climax. The miniature work here is absolutely top-notch (if slightly undermined by a few inter-cut shots of stock footage). Though nicely photographed, the rest of the movie, alas, is either wearisomely corny and tediously clichéd or just plain boring.
Clements' off-hand, casually unattractive performance doesn't help. Nor do the routine impersonations by Leslie Banks, Basil Sydney, Michael Wilding (who has a large role, despite his lack of prominence in the cast list), Michael Rennie (who has a small part), Charles Victor and company. Some of the players even venture towards the ludicrous, particularly Edward Chapman as a cheapskate blowhard of a Greek and Cecil Parker as a ruthless Gestapo commander. The girls are no better. Overly made-up Ann Todd as a nightclub singer (dubbed, of course) and impossibly dowdy Jane Baxter (shortly to return to the stage) are hardly our cups of tea.