Contraband [Blackout] (1940)

Hello Darkness My Old Friend

***This Review Contains Spoilers***

Contraband holds a number of similarities to All Through The Night (released by Warner Bros the following year). Both films are Hitchcockian thrillers and (as the title of the latter suggests) take place all through a single night in which a romantic hero inadvertently infiltrates a Nazi spy ring (even though the word “Nazi” is never used in ether film). On top of that, Conrad Veidt appears in both films, although he is cast as a villain in All Through The Night. I love films that effectively play out within a condensed time frame and Contraband is simply enormous fun to watch – one of those films which I felt like I had to tell someone about it afterwards I was left that thrilled. Contraband would be renamed Blackout for the US release, but I think Contraband is the cooler title.

Contraband would offer Conrad Veidt the rare role of a hero as Danish seaman, Captain Anderson. Veidt doesn’t have the looks matinee idol but he is very suave and pulls of the romantic hero with ease (sadly this great actor would pass away only three years following the release of Contraband from a heart attack aged 50). The bane to Captain Anderson, Mrs Sorensen (Valerie Hobson) is introduced defying the captain’s orders and not wearing a life jacket despite what the chattering gossips around her say. This defiance and Hepburn-esque, free-spirit attitude establishes Mrs Sorensen as a real badass.

The chemistry between Veidt and Hobson has shades of William Powell & Myrna Loy, with the two sharing moments reminiscent of screwball comedies. For example, the scene in which Sorensen calls for a taxi in a feminine voice after multiple taxis ignore Anderson is similar to the hitchhiking scene from It Happened One NightContraband makes reference to bondage on a number of occasions from Anderson’s early foreshadowing asking Sorensen “Have you ever been put in irons?” to the rather erotic, James Bond-style scene in which they attempt to break free after being tied up by their Nazi captors. All this sexual tension culminates by the film’s final scene in which Anderson directs Sorensen to drop her life jacket as it hits the floor and they go into a clinch, followed by phallic symbolism of a dripping wet anchor in the final shot – as steamy as a film from the 1940s can get.

Contraband is set in November 1939, the phoney stage of World War II. Like Powell & Pressburger would do in their subsequent film 49th Parallel, Contraband is clearly a rally call to other nations against neutrality in the war. Although a British film, Contrband is one which should ignite the patriotism in any Dane as Captain Anderson and his fellow Danish patriots from the Three Vikings restaurant in London work together to infiltrate the London based Nazis. Contraband offers an insight into life in London during the blackout as people try to go about their lives as normal, using torches to navigate their way in the street (they must be pointed down or else the blackout warden will call you out) and closing their eyes for ten seconds before going back outside. In one scene two wardens approach a man lighting up a cigarette in the street to which the man angrily responds “Why don’t you do something to earn your 3 quid a week and leave taxpayers alone”. With this portrayal of the restriction of liberties as well as the aforementioned refusal of Mrs Sorensen to be compelled to wear a life jacket, I can’t help for Contraband to directly remind me of recent world events as of writing this review. Due to the blackout setting, much of Contraband is visually dark and makes great use of chiaroscuro lighting and expressionist visuals – appropriate considering that the film stars the most notable cast member from the granddaddy of German Expressionist films, The Cabinet Of Dr Caligari. Unfortunately Contraband has yet to receive the special edition, 4K re-master treatment, with the film only being available in a scratchy print on an old Region 1, Kino DVD.

I do have to question if escapade off Captain Anderson’s ship and into London by Mrs Sorensen and her accomplice Mr Pidgeon (Esmond Knight) was part of a mission or a spur of the moment decision since we are lead to believe the British interception of the ship was unplanned.  It’s never made clear who or what Sorensen or Pidgeon are working for however it is reveled their aim is to find out under what neutral names, German vessels sail across the Atlantic, so in all likelihood, they’re probably British spies. Thus I do theorise that Sorensen and Pidgeon had a part to play on the British authorities stopping the ship and forcing it to dock overnight. This theory is backed up by the film’s ending in which one of the British authorities gives Anderson what he is told is a box containing painkillers to help him with his illness. Afterwards Mrs Sorensen tells him to look in the box only to find it contains the pocket watch which he lost in London, proving more or less she is working for the British authorities.

Adjoining the Nazi’s London layer is a warehouse full of busts of then British Prime Minister Neville Chamberlain by a company known as “Patriotic Plaster Products”. Why does a Nazi spy ring have a warehouse full of busts of Neville Chamberlain? Likewise, I can’t tell whether or not the film is trying to denigrate Chamberlain. After Anderson knocks out one of the Nazi ring leaders using one of the busts which simultaneously smashes it to pieces, Anderson responds “They always said he was tough”. Chamberlain left office on May 10th, 1940 and Winston Churchill became Prime Minister –Contraband was released in UK theatres the following day.

The Mortal Storm (1940)

I Did Nazi That Coming

I try to avoid calling movies underrated or saying “Why is this not more well known?!”, otherwise, I would sound like the most malfunctioning record but as to why The Mortal Storm is not more famous goes beyond just my own personal preferences. The fact that Hollywood’s then biggest studio Metro Goldwyn Mayer would release an anti-Nazi film at a time when the US and Germany were not involved in any conflict should be a bigger deal than it is. To give some historical context, although it seems hard to believe nowadays, fascist and other Nazi-like ideas were out in the open throughout the United States during the 20’s and 30’s (heck, just look at the film Gabriel Over the White House from 1933, also released by MGM, or the public initial backlash against films with pro-interventionist sentiments such as Sergeant York or To Be Or Not To Be). Prior to the US involvement in the war, there was even uncertainty as to whether or not the US should take part in the conflict in Europe.

The Mortal Storm being overlooked is criminal. It deserves the special edition DVD treatment with documentaries behind its production. I’m sure there must be an interesting story behind the making of this film. MGM has generally been seen as a studio who played it safe, thanks in part to its conservative studio head Louis B. Mayer. So it comes as a surprise The Mortal Storm would come from this studio and they paid the price. The Mortal Storm lead to MGM films being banned in Germany. The word Nazi is never used once throughout the film, while the characters I can only assume are Jews are referred to as Non- Aryan. I wonder if this was done to prevent further controversy surrounding the film but it’s still an incredibly brave picture.

The core story is about how Nazism tore German families and friends apart due to racial and political differences. The Roths (Jewish I assume) are a happy picture postcard family one day, the next there are completely torn apart. Things go bad for the family from the moment in which it’s announced Hitler has become chancellor of Germany as the adopted, non-Jewish sons of the Roth family begin saying disturbing yet enthusiastic comments (“If peasants want to keep their cows they better have the right politics”). Likewise, the patriarch of the Roth family and the professor of the town’s local university played by Frank Morgan is treated with the highest levels of respect one day and is awarded for his contributions to the fatherland. Not long after Hitler’s rise to power his students are boycotting his class after he states that science has shown there is no difference between the blood of various races.

The Mortal Storm is a work of propaganda, not that there’s anything wrong with that. Propaganda is an art form in itself, one which tries to get an emotional reaction out of the viewer in order to convert them to one side. The Mortal Storm achieves just that. The tension during the film just builds and builds, concluding in an ending which is one huge punch to the gut.

Watching the film again in order to write this review I surprised just how engaging it was on a further viewing. There are many little touches I never noticed previously, such as when Robert Young’s character announces his engagement to Margaret Sullavan, James Stewart is the only character the room who does react with joy. I do also have to ask how Stewart, a man who would become a World War II hero and later supporter of the Vietnam war must have felt playing a character who is a pacifist.

Majority of the film is shot on sets with the use of painted backgrounds and miniatures, yet the whole thing still looks fantastic and looks more idyllic than real-world locations could. You really get a sense for this small town in the Alps. The only complaint if any I can find with the film is that opening narration which is overly bombastic.

The casting of the previously paired Shop Around the Corner stars couldn’t be more perfect. James Stewart and Margaret Sullavan play two friends who are forced to become lovers due to the impending circumstances – I can’t recall any other movies which portray a love story like this. Sullavan often portrayed characters who represented bravery; her voice is so fragile yet powerful at the same time. The cast isn’t the only tie the film shares with The Shop Around the Corner; both films represent a European society which was on the brink of destruction. The Mortal Storm shows how even an enlightened society can turn to authoritarianism.

All Through the Night (1941)

A Mixture of Action Und Comedy

Bogart: Let’s Get Silly!

Mixing up so many genres into a single movie could potentially be a disaster yet I’ve perhaps never seen a better genre mash-up than All Through the Night. I’m astounded at this movie’s ability to have a bit of everything and pull it off so immaculately; bouncing back and forth between drama, comedy, action, murder mystery and even film noir. All Through the Night is the closest thing to a Hitchcock movie starring Humphrey Bogart in which an ordinary man gets caught up in espionage and becomes a fugitive for a crime he didn’t commit, with moments in the film such as the auction scene or Bogart deliberately getting arrested by police directly reminded me of North by Northwest; likewise the movie even stars Judith Anderson in the Mrs. Danvers hairstyle from Rebecca while Bogart’s exploits against the movie’s Nazi villains gives an urban Indiana Jones edge to the film. Even the movie’s final climatic moment had me on the edge of my seat and thinking to myself “how is he going to get out of this?!”. One top of that the film gets an additional boast with some truly superb use of shadows and lighting; All Through the Night really exemplifies the unique look of Warner Bros. movies of the 30’s and 40’s.

I may sound hyperbolic but the more I think about it, the role of Gloves Donahue may be the greatest performance of Bogart’s career; why you ask, versatility! Just like the tone of the film he is able to continually bounce back between being serious to just downright silly. Bogart has made me laugh during comedic moments in his other movies but I never knew he could make me laugh this side splittingly hard; from subtle moments such as throwing the reserved sign off a table in a nightclub to the more obvious in which he infiltrates and stalls a secret Nazi meeting. At another point he delivers the line “More here than meets the FBI”; I do love me a corny pun but with Bogart delivering it just makes it funnier – All Through the Night makes me wish he had starred in more comedies.

On top of all that, the character he plays is a momma’s boy yet he’s still badass! I find this aspect of his character is hilarious in itself. There’s something adorable about a tough guy who wears dotted bathrobes and loves cheesecake so much; exemplified even more with his mother being played by the ever motherly Jane Darwell. All Through the Night features a large selection of character actors at some of their best work and even features a young Jackie Gleason in one of his earliest film roles; what more secrets does this movie hold? If I was to find any point of contention with All Through the Night I wouldn’t have minded seeing a bit romance between Bogart and Kaaren Verne, but with a film that has this much merit, it’s hard to complain.

All Through the Night is an anti-Nazi propaganda film and an effective one at that. I find the satire here is on par with The Great Dictator and To Be or Not Be as the movie pokes fun at Nazi ideology. The leader of the branch of Nazi spies is portrayed by Conrad Veidt whom there was probably no one better at the time to play evil Nazis. Gloves Donahue is also a minor gangster which reflects the attitude of real-life gangsters of the time who worked with the government to infiltrate Nazi spies. One scene in the film involves Bogart giving a chilling monologue on how the Nazis will take people’s freedoms away in an argument against US isolationism in the ongoing war in Europe; all this however without even mentioning the word Nazi once throughout the film. Another interesting aspect of the film is the mentioning of an actual concentration camp Dachau. Being released in 1941 before the true nature of the camps where discovered, this is one moment I found quite chilling. All Through the Night was released in the US only 5 days before the attack on Pearl Harbor, although Warner Bros. had already long established themselves as an anti-Nazi studio.

By the time I watched All Through the Night I had already seen all of Bogart’s major movies and figured I was largely finished exploring the actor’s filmography, thus it came as such a delight discovering this obscure gem which satisfied me more than many of his more famous movies. This is the type of movie which makes me want to scream out, “Why the hell is this not more well known?!”, but then again its moments like these in which I live to be a cinephile.