Life Under Occupation

The Train

This tense 1964 action drama from John Frankenheimer (The Manchurian Candidate) stars Burt Lancaster as a member of the French Resistance trying to prevent Nazi looters from taking valuable art treasures out of the country. A great ride all the way with Frankenheimer at his inimitable best. This is a true human-scale action movie of the sort we used to think of before "action" meant blowing up asteroids in space. Kinetic but almost rueful in tone the films chases and fights are not just eye candy but rather encourage audience involvement in moral stakes. Crisp and serious performances all around from Lancaster and 1960s icons Paul Scofield and Jeanne Moreau. System Requirements:Starring: Burt Lancaster et al. Director: John Frankenheimer Format: DVD MOVIE Genre: DRAMA Rating:  UPC: 027616753922 Manufacturer No: M110330

This is one of John Frankenheimer's breathless gems--all marvelous action that never lets up. Burt Lancaster plays a French train engineer during the waning days of the German occupation who tries to prevent Nazi colonel Paul Scofield from transporting a precious art collection back to Germany. Utilizing sabotage and cunning deception, Lancaster and his Resistance colleagues stall for time with the Allies on their way. It's a brilliantly made film, showing off Lancaster's acrobatic skills (he performed all of his own stunts) and Frankenheimer's sense of pacing and brilliant use of space. It's choreographed with the utmost precision (those are real explosions during the pivotal strafing sequence) and extremely authentic in its details. Lancaster is in rare minimalist form, and Scofield manages to extract intelligence and sympathy. A firecracker action film shot in crisp black and white, with yet another telling audio commentary by the always instructive director. --Bill Desowitz

Come and See

Uprising

Originally broadcast in November 2001, this exceptional made-for-television film recalls Schindler's List and Saving Private Ryan while forging its own distinct identity. It was the first American film to dramatize the Warsaw Ghetto uprising of 1943, during which an underground collective of Polish Jews dared to defy the Nazis. Hank Azaria leads an all-star cast as resistance leader Mordecai Anielewicz, and the film follows his close-knit collaborators (including David Schwimmer and Leelee Sobieski) and their battle against the Nazi general (Jon Voight) assigned to clear all Jews from Warsaw. The uprising was eventually crushed (some heartbreaking outcomes are listed in the closing credits), but director Jon Avnet expertly maintains a sense of courage and hope amidst the palpable horror of the Warsaw Ghetto. Combining physical and historical accuracy with intimate character details, Uprising is suspenseful without being sensational, thus honoring one of the greatest symbolic victories in all of Jewish history. --Jeff Shannon

After Germany invades Poland in 1939, the Nazis decree that 350,000 Warsaw Jews be forcibly moved into a cordoned area known as the Warsaw Ghetto. Idealistic teacher Mordechai Anielewicz (Hank Azaria) decides the Jews must rise up against the Nazis and creates the Jewish Fighting Organization (JFO). He tries to secure the support of Adam Czerniakow (Donald Sutherland), the morally conflicted head of the Warsaw Ghetto's Jewish Council, but Adam declines because he knows that any act of resistance will provoke the Germans to retaliate by killing innocent Jews. Determined to mobilize a resistance alone if he has to, Mordechai recruits his friends and covert couriers whose ability to pass as Aryan helps them smuggle in arms and explosives from the Aryan side of the city, building up an arsenal to fight the Nazis.

When the Germans begin deporting 300,000 Jews to the Treblinka death camp, the JFO begins acts of resistance that culminate with ghetto fighters firing their first gunshots against the Nazis. When it becomes clear that the JFO is a force to be reckoned with, the German High Command sends in General Stroop (Jon Voight), who is determined to end the uprising in two or three days.

Capturing the horror that unfolds is Fritz Hippler (Cary Elwes), a filmmaker assigned by Hitler's chief propagandist to promote anti-Semitism with a film about Jewish life in the ghetto.

When the Nazis continue to suffer more casualties in their battle with the ghetto fighters, General Stroop decides to raze the ghetto. But even that can't stop the JFO. Forced to go underground into bunkers but energized by their success, the resisters fight on, ultimately holding off the Nazi army longer than the entire country of Poland. They're determined to live with honor--and if need be, die with honor--while lighting the torch for resistance in the occupied territories.

Open City

The Allies had barely driven the Nazis out of Rome when Roberto Rosselini went to work on Open City, considered by most to be his greatest work. Shot on bits and short ends of scavenged film, this film helped define Italian neorealism. Audiences were convinced that the actors were all amateurs (they weren't) and the whole film was improvised (it wasn't; the three screenwriters included Federico Fellini). With its semidocumentary camera style and use of actual locations, the film does feel very real. Of course, so does the opening half-hour of Saving Private Ryan, and like that film Open City is at its heart a classic war yarn any Hollywood studio would feel at home with. The story involves members of the Italian underground trying to smuggle badly needed cash out of Nazi-occupied Rome to partisan fighters in the mountains, while the Nazis are hunting down one of the underground, a notorious freedom fighter and seditionist. Anna Magnani (an actor well established in her own country who became an international star with this film) is often singled out for her portrayal as the pregnant, unwed woman who gets caught up in the action on her wedding day, but the entire cast is topnotch. The sparse subtitles are both a blessing and a curse--there is less to read, which allows the viewer to concentrate on the visuals, but there are times when non-Italian-speakers will feel like they're missing out on some juicy dialogue. --Geof Miller

The stars play an impoverished mother-to-be and a parish priest whose loyalties are tested by the sinister German forces that occupy their homeland during World War II.

Closely Watched Trains - Criterion Collection

Jiri Menzel's funny, tragic 1966 film, set during the years of Germany's occupation of Czechoslovakia, may be admired today more out of nostalgia than anything, but in fact it holds up very well as a wry satire from the years of the Czech New Wave. Vaclav Neckar stars as an unambitious youth whose chief preoccupation is a wish for sex, but who secondarily sees the draw of joining the organized Resistance movement. The latter, however, would require energy and focus, and Neckar's character--who does as little work as possible as an apprentice railway platform guard--prefers the inertia of his small-town depot. Spending his time observing the philandering of an older guard, keeping clear of his wild-eyed boss, and flirting with the female conductor of a passing train, the young hero has his priorities in order but must deal with an increasing responsibility to a larger rebellion. The film has a nice mix of rural lethargy, surreal hints, and comic knowingness about the landscape of teenage ambivalence. Finally, there is something else: the shock of a confrontation between dreams and real-world obligation, particularly in a world gone mad through no fault of one's own. --Tom Keogh

At a village railway station in occupied Czechoslovakia, a bumbling dispatcher's apprentice longs to liberate himself from his virginity. Oblivious to the war and the resistance that surrounds him, this young man embarks on a journey of sexual awakening and self-discovery, encountering a universe of frustration, eroticism, and adventure within his sleepy backwater depot. Wry and tender, Academy Award®-winning Closely Watched Trains is a masterpiece of human observation and one of the best-loved films of the Czech New Wave.

Strayed

Emmanuelle Béart gives another beautiful performance in this fable-like story of World War II. She plays a widow with two children in tow; escaping from Paris, their car is bombed in the countryside and they stagger into the woods along with a rough, savvy teenage boy (the feral Gaspard Ulliel). Their idyll in an abandoned chateau takes up the remainder of the film, as various tensions simmer within this ad hoc family unit. Director Andre Techine (Wild Reeds, Scene of the Crime) is a master of the small, telling moment and the frailty of people in a natural landscape. He also proves, in the riveting sequence of Germans attacking the line of refugees, that he could probably make a great action film if he cared to. Along with Béart's sensuality, his treatment of hushed interiors and sympathy for the imagination of children creates an intimate arena for these lost souls. --Robert Horton

DVD extras include: 16x9 anamorphic, 5.1 sound, interviews with Andre Techine, Gaspard Ulliel & Gilles Perrault, subtitle control, storyboards, photo gallery. Set in 1940 at the beginning of France's occupation by the Germans, Strayed stars French film icon Emmanuelle Béart (Nathalie, 8 Women) as Odile, a young and beautiful widow fleeing Paris with her two children. When German planes bomb the road filled with refugees, Odile's car is destroyed and the three must escape into the woods. There they encounter Yvan (sexy newcomer Gaspard Ulliel - Brotherhood of the Wolf), a 17 year-old illiterate delinquent whose survival skills and charm soon prove indispensable. They soon take shelter in an abandoned house and become a makeshift family. Odile, at once suspicious of and attracted to the mysterious stranger, soon finds herself at the center of a fascinating set of personal and sexual dynamics. One of the most respected filmmakers in France, André Téchiné (Wild Reeds, Rendez-Vous) once again, builds on his reputation as one of the most sensitive and intelligent filmmakers working today.

All Quiet on the Western Front

This 1930 film, No. 54 on the AFI's Top 100 list, still holds up as a surprisingly forceful and honest antiwar drama. Indeed, the modern sensibility is almost as startling as the sometime stagey acting of Lew Ayres, which can be excused by the fact that, three years after the introduction of sound, actors were still applying stage techniques to talking pictures. Ayres plays a German college student during World War I, who is brainwashed into enlisting in the Army (along with the rest of his class) by a zealously inspirational college professor. Once in uniform and on the front lines, however, he quickly discovers that the glory of the Fatherland is of little concern to a soldier dodging bullets and explosions, whose comrades are dying in his arms. As powerful in its way as Platoon almost 60 years later, it remains a classic tale of young soldiers' confrontations with the possibility of imminent and arbitrary death. Director Lewis Milestone shows a surprising range of techniques in this film from the formative years of moviemaking with sound. --Marshall Fine

Black Sun: The Nanking Massacre

Black Sun is an uncompromising portrayal of the war crimes perpetrated by the Japanese Imperial Army upon the Chinese military and civilian population of Nanking during the occupation of the city. Hailed by critics as one of the most disturbing films ever released. Black Sun: The Nanking Massacre is unflinching in its depiction of the barbaric cruelty with which the occupying army raped, pillaged and terrorized the defeated populace.

Black Sun: The Nanking Massacre is so audacious in its insistence of factual representation this it refuses to be categorized. The film embraces myriad genres- war, drama, horror, documentary, exploitation, even propaganda. This unyielding film chronicles events so atrocious that, over sixty years after their occurrence, many in Japan still cannot bring themselves to admit the horror that their nation unleashed on their Chinese Neighbors.

From the acclaimed Chinese director T. F. Mou (Men Behind the Sun), Black Sun: The Nanking Massacre portrays the ordeals of the members of a poor Chinese Family as they try to survive the Japanese occupation of their city. Two young children, Jean and John, escape with their uncle after witnessing the gruesome murder of their mother and father by Japanese Soldiers. While fleeing from the Japanese, they are separated and the children have to fend for themselves in the war torn city. The film lays bare the pitiless conduct of the Japanese army commanders as they attempt to subjugate the city by any means possible in order to further the cause of the Japanese domination of China and their pursuit of a Greater Asia under Japanese rule. Unearthed Films is proud to release this landmark film in its entirety. The film is presented in an uncut anamorphic transfer from the original negative and the DVD includes numerous supplemental materials to help understand the historical context of the events that occurred.

Hangmen Also Die

Because it's been little seen, and because people tend to shrug off contemporaneous World War II films as "propaganda," Hangmen Also Die has never received its due. It's a brilliant, riveting movie, made in response to the atrocities committed against the Czech people following the assassination of Reichsprotektor Heydrich, Hitler's personal "hangman." Under Fritz Lang's ferociously stylized direction, the duel of wits between the Nazi occupiers and the Prague underground--"a ghost army sworn to haunt them till their blood runs cold"--becomes the stuff of legend: virtually another installment of Die Nibelungen, and a dynamic variation on the urban phantasmagoria of the Mabuse films and Spione and M.

There is propaganda--but when the blood-curdling rhetoric comes from Bertolt Brecht, no less, in his only movie script for an American producer, who's to complain? Lang was Brecht's full collaborator, however, and the narrative is a steel trap closing on everyone. Every act of charity may potentially doom an entire family, and the resistance fighters--especially Brian Donlevy's doctor-assassin--agonize over their culpability in jeopardizing hundreds of innocents taken hostage in reprisal for Heydrich's shooting. The moral-ethical duality extends to the casting, and our response to it. Apart from Walter Brennan, astonishingly "Brechtian" as a Czech professor of history, the "good guys" are ho-hum Central Casting types while the Nazis--evil incarnate--are juicily portrayed by a passel of German-Jewish émigrés (Alexander Granach, Reinhold Schünzel, Ludwig Donath, et al.), all savoring the opportunity to skewer their own oppressors and to act up a German Expressionist storm in their Hollywood exile. Superbly photographed by James Wong Howe. --Richard T. Jameson

Alfred Hitchcock's Bon Voyage & Aventure Malgache

While Alfred Hitchcock made several well-known wartime films with intrigue and ambiguous love themes at their core (Saboteur, Notorious), he also made a pair of far less familiar works: two French-language propaganda shorts, Bon Voyage and Aventure Malgache. The two rarely screened works were actually official productions of the British Ministry of Information, designed as tributes to the Resistance movement against the occupying Nazi forces in France. Hitchcock was paid a token fee, but they were really a labor of love for him. Despite that, Bon Voyage received limited play in France and Aventure Malgache was shelved completely by the Brits. Neither movie played in America. It's easy to see why: Bon Voyage, the better of the two, concerns a Royal Air Force gunner whose escape from a German prison is aided by a fellow fugitive he has only just met, and by a succession of Resistance workers who help him get out of the country. Interrogated back in London, the officer discovers he was actually an unwitting dupe whose flight helped the Germans locate and destroy key links in the underground organization.

Equally bleak, Aventure Malgache is a complex, swiftly paced remembrance by a French actor about the duplicity of Vichy collaborators in French-controlled Madagascar. The narrator, making himself up to play his own life in a staged version of past events he describes, was imprisoned by the Vichy government for his Resistance tactics. In essence, the film is about dissension among the French people when it comes to dealing with the Germans. It's a little hard to imagine why Hitchcock would have thought these two morally shaded stories would bolster freedom-fighting spirits. But they each have elements that resonate deliciously with his career-long pet obsessions and themes. Bon Voyage, particularly, is of interest as the tale of an innocent man who unwittingly crosses the line into culpability for evil, a moral murkiness that is key to many Hitchcock films from The Lodger through Frenzy. As a piece of the legacy of one of the most important filmmakers in history, this rare double bill is well worth the visit. --Tom Keogh

Two tales of espionage, suspense and murder by the Master of Suspense himself: "Bon Voyage" and "Aventure Malgache." Made in 1944 to aid the war effort, they were considered inflammatory by the British government and locked away to be forgotten. Now, more than 50 years later, Hitchcock fans can rediscover these lost classics.