John Wengraf Movies

Rex Harrison astonished his fans by donning a Nazi uniform in the British suspenser Night Train (originally titled Night Train to Munich). Actually he's a British agent, working undercover to rescue a Czech inventor from the Gestapo. The inventor's daughter (Margaret Lockwood) becomes the unwitting pawn of a genuine Nazi (Paul von Hernreid, just before he became Paul Henreid) during a long train ride from Germany to France and back again. Director Carol Reed never denied that his inspiration for Night Train was Hitchcock's The Lady Vanishes (both films were written by Frank Launder and Sidney Gilliat). The homage was solidified by the presence in Night Train of two carryovers from the Hitchcock film: those ardent British cricket fans Charters and Caldicott (Basil Radford and Naunton Wayne). Night Train was liberally adapted from the Gordon Wellesley novel Report on a Fugitive. ~ Hal Erickson, Rovi

Lucky Jordan (Alan Ladd) is a tough but good-natured New York racketeer who tries to finagle his way out of Army service. Despite his efforts, Jordan is drafted, but soon goes AWOL, with a lovely USO worker (Helen Walker) dogging his heels. She tries to arouse Jordan's patriotism, but he is unmoved until a gang of enemy spies beat up an old lady con artist (Mabel Paige) whom Lucky regards as a surrogate mother. Using his underhanded "street smarts," Jordan rounds up the spies and agrees to complete his military servitude. Lucky Jordan was one of several wartime films in which otherwise larcenous individuals are redeemed by channelling their talents for the good of Uncle Sam. ~ Hal Erickson, Rovi

Humphrey Bogart considered this World War II action epic from director Zoltan Korda one of his finest films. Sergeant Joe Gunn (Bogart) is the commander of an American M-3 tank crew allied to the British Eighth Army, which is defeated by the Germans at Tobruk. Joining the scattered retreat across the Libyan desert, Gunn and his two remaining men, Jimmy Doyle (Dan Duryea) and Waco Hoyt (Bruce Bennett) search for water. Instead the tank crew finds an international mix of stragglers, including an officer doctor (Richard Nugent) with several soldiers and a British Sudanese sergeant, Tambul (Rex Ingram), with his Italian prisoner of war (J. Carrol Naish). The rag-tag column shoots down an attacking plane and takes its German pilot (Kurt Kreuger) as a second captive, although a soldier, Fred Clarkson (Lloyd Bridges) is killed in the fighting. After one well turns out to be dry, the troupe finally reaches an abandoned mosque with a well that provides a trickle of water. Two more prisoners are taken while scouting the area and reveal that an entire German battalion is en route to the same well. Gunn misleads them into believing that there is plenty of water to go around, sets them free to report back to their superiors, and then persuades his fellow Allies to help him fight the enemy force that's en route, even though they are staggeringly outnumbered. A betrayal, an escaped prisoner, and bloody skirmishes follow in short order as Hoyt goes in search of help while Gunn and his compatriots attempt to crush the German battalion. Sahara (1943) inspired several subsequent action films, most notably Last of the Comanches (1952), and was remade as a 1995 cable television movie. ~ Karl Williams, Rovi

Fred Zinnemann directed this World War II drama, considered one of the best anti-Nazi dramas produced by Hollywood during the war years. The story concerns seven prisoners in a Nazi concentration camp who manage to elude the guards and the Gestapo. The commandant, in a rage over their escape, nails crosses to seven trees, planning to crucify each of the prisoners as they are captured. Gradually six of the prisoners are discovered by the Gestapo and crucified. The one remaining escapee, George Heisler (Spencer Tracy), has become embittered and cynical after his years in the concentration camp. But as an assortment of friends and strangers help him elude the Gestapo, Heisler finally makes it to neutral Holland, his faith in mankind restored. Jessica Tandy had her first screen appearance as Liesel Roeder, the wife of Paul Roeder (Hume Cronyn, Tandy's real life husband), one of the friends who helps Heisler make his way to freedom. ~ Paul Brenner, Rovi

One of Hollywood's favorite film titles (next to Never a Dull Moment and The Man Who Dared) is given another go-round with 1944's Till We Meet Again. Ray Milland stars as an American combat pilot forced to crash-land in occupied France. He is sheltered by nun Barbara Britton, who finds herself attracted to the brash flyboy. Britton poses as Milland's wife when the twosome becomes involved with the activities of the French underground. This being a 1944 film, it wouldn't do for Britton to renounce her vows in favor of connubial bliss, so someone (guess who?) has to conveniently die before the climax of Till We Meet Again. ~ Hal Erickson, Rovi

Weekend at the Waldorf is an unabashed remake of MGM's 1932 Oscar-winner Grand Hotel: in fact, at several points in the story, the cast makes pointed references to the earlier film. The posh Waldorf Hotel in the heart of New York is the setting for several plots and subplots. Ginger Rogers plays the Garbo counterpart, a successful but severely depressed movie star who wants to be alone. Walter Pigeon steps into John Barrymore's role, sort of; whereas Barrymore was a thief posing as nobility, Pigeon is a war correspondent posing as a thief. Hotel stenographer Lana Turner (originally Joan Crawford) latches onto tycoon Edward Arnold (originally Wallace Beery) in hopes of a life of luxury. And, in the film's biggest adaptation stretch, Van Johnson is cast as a war hero who, about to undergo life-threatening surgery, wants to thoroughly enjoy what may be his last days on earth. It takes a while to figure this out, but Johnson is supposed to be the character played in Grand Hotel by Lionel Barrymore: the meek clerk who, upon discovering that he's dying, blows his life savings on one last fling. On the whole, Weekend at the Waldorf is a lot more light-hearted than Grand Hotel, as indicated by the expository character played by humorist Robert Benchley, not to mention the presence of Xavier Cugat as the Waldorf's orchestra leader. ~ Hal Erickson, Rovi

Elizabeth MacDonald (Claudette Colbert) is a newly married corporate librarian in 1918 Baltimore working for a chemical company owned by the Hamilton family and managed by Larry Hamilton (George Brent). Just as she is celebrating the armistice and anticipating the return of her husband John (Orson Welles), she learns he was killed in action, just days before the cease fire. Pregnant with their child and alone in the world, she is taken in by Larry Hamilton, who has loved her from afar and is driven by sympathy for her plight. She has her baby, a boy named Drew, and she and Larry marry, raising the child as his own and never telling the boy of his real father. Meanwhile, in an Austrian hospital, a horribly wounded and disfigured American officer (Welles) without any identification insists to the doctor treating him (John Wengraf) that he be allowed to die. The doctor saves his life, but the shock of his injuries and the strain of his recovery causes him to lose his memory, and he ends up adopting a new identity. Cut to 1939, and the outbreak of the Second World War in Europe. Drew (Richard Long) is about to graduate from college and wants to join his fraternity brothers, who are planning on going to Canada, signing up with the Royal Canadian Air Force, and heading to England to fly against the Germans. Drew is not yet 21, however, and needs the permission of his parents, but Elizabeth is appalled by the notion of losing Drew to war the same way that she lost John.

Into their family comes a visitor, Erich Kessler (Welles), a crippled, ailing Austrian refugee and chemical expert hired by Hamilton's company, who arrives in Baltimore with his young daughter Margaret (Natalie Wood). Kessler starts to recognize places in the city, including the home where Elizabeth lived, and when they meet, despite her discomfort at having an Austrian army veteran in the house, she does her best to welcome him. Elizabeth also starts to notice little aspects of Kessler that remind her vaguely of John. But much as she is haunted by these strange similarities, she is appalled when Kessler seems to encourage Drew to pursue his goal of fighting the Nazis. Even Kessler's presence in their home, despite his genial and deferential manner, is a vexation to Elizabeth, bringing the horror of the war and what the Nazis represent into their midst and making Drew even more fervent in his desire to join up and fight. When Margaret displays terrible fears and nightmares, it comes out that she isn't really Kessler's child at all, but the daughter of the doctor who saved his life (he and his wife had been executed by the Nazis).

Larry, meanwhile, must watch from the sidelines, not aware of Kessler's real identity and unable to resolve the conflict between his admiration for Drew's intentions and his love for his wife. When Drew decides to ignore his parents' wishes and go to Canada and enlist without their permission, Kessler follows and stops him (despite his own weakened condition), and brings the young man home. A confrontation ensues upon their return, and Kessler explains to her that, whomever she thinks he might have been, the past has passed. Elizabeth finds the strength and courage to face the future, and the coming of the new war and what it may bring. ~ Bruce Eder, Rovi

As Cold-War melodramas go, Sofia goes pretty well. Set in a backlot version of Turkey, the film stars Gene Raymond as former OSS man Steve Roark. Assigned to rescue two atomic scientists from Russia and spirit them across the Iron Curtain, Steve discovers that one of the scientists is his ex-lover Linda Carlsen (Sigrid Gurie). Meanwhile, sultry cabaret singer-turned-spy Magda Onescu (Patricia Morison) offers her services to both the Allies and the Communists, hoping to be financially renumerated by both sides (Guess how she ends up?) Some of the espionage techniques are amusing, especially when the rascally Russians are so easily fooled by the simplest subterfuges. ~ Hal Erickson, Rovi

Adapted from a play by Honore de Balzac, Lovable Cheat offers a veritable smorgasbord of Hollywood's top character actors. The title character, one Claude Mercadet, is played by Charlie Ruggles. Posing as a wealthy Parisian, Mercadet fleeces friends and casual acquaintances alike. He is forced into this life of crime to keep up appearances, so that his daughter Julie (Peggy Ann Garner) can land herself a rich husband. Iris Adrian enjoys one of her largest film roles as Ruggles' wife; Alan Mowbray is right in his element as an elegant butler; and future financial advisor Richard Ney is ironically cast as an impoverished bank clerk. Also on hand is Buster Keaton, as a nonplused creditor who spends his screen time waiting in vain for his missing business associate Godot (could playwright Samuel Beckett have seen this film?) Not entirely successful, Lovable Cheat is nonetheless a courageous exercise in the offbeat. ~ Hal Erickson, Rovi

Friday (Jack Webb) and Smith (Ben Alexander) investigates the murder of shopkeeper John Wilford, whose bound-and-beaten body is found on the floor of his own haberdashery. At first it looks like robbery was the motive, but the victim's widow sends the detectives off on another trail when she reveals that Wilford was a serial philanderer--and that his latest girlfriend was a young, blonde chorus girl (played by none other than Carolyn Jones) with several other middle-aged admirers. This episode is based on the Dragnet radio broadcast of September 13, 1951. ~ Hal Erickson, Rovi

In this suspense drama, a group of strangers becomes acquainted as they wait for a plane to arrive at an airport in Tangier. Among those awaiting the flight are Susan (Joan Fontaine), an American who is dating the pilot; Gil Walker (Jack Palance), an expatriate who received the Congressional Medal of Honor during the war; and Nicole (Corinne Calvet), a lovely but mysterious French woman who seems to be attracted to Walker. When the plane they've been waiting for crashes, no pilot or passengers can be found -- and that $3 million on board, being smuggled into Tangier to buy fighter planes for Soviet forces on the black market, have also gone missing. Susan immediately organizes a search party to find the pilot; Walker eagerly joins in, though Susan soon discovers he has his own reasons for being concerned about the fate of the plane and its cargo. Flight To Tangier was shot and initially released in 3-D, as well as Technicolor. ~ Mark Deming, Rovi

Ethel Merman reprised her role as a socialite turned diplomat in this screen adaptation of Irving Berlin's hit Broadway musical. Sally Adams (Merman) has made it her business to know everyone worth knowing in Washington D.C., and her penchant for parties pays off when she's appointed United States Ambassador to Lichtenburg. Once she is installed in her new position, she falls in love with suave Foreign Minister Cosmo Constantine (George Sanders), while Princess Maria (Vera-Ellen) has her head turned by Sally's press attaché, Kenneth (Donand O'Connor). Call Me Madam is a showcase for Merman's roof-raising musical comedy style, and here she gets to sing a handful of Berlin tunes, including "You're Just In Love," "Can You Use Any Money Today?" and "Hostess With The Mostes' on the Ball." Vera-Ellen's singing was dubbed by Carol Richards. ~ Mark Deming, Rovi