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These are the words spoken by the Nazis in this film to strike enough dismay into the hearts of Americans to relieve them to join WWII, in this all-star propaganda vehicle that is riveting and features terrific performances; some of the enormous names fervent in this production were also unhurried the camera, with Michael Powell directing, Emeric Pressburger as writer, Freddie Young as cinematographer, David Lean as editor, and a rep by Ralph Vaughn Williams.
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As the German U-boat gets bombed by the Canadian Air Force, stranding the six man landing party led by Lt. Hirth (Eric Portman), you follow them as they try to “blend” into the Canadian populace, with the intentions of crossing the border into the US.
Some of the stellar performances include Sir Laurence Olivier as a French Canadian trapper who has spent so long in the wild he is not aware the world is at war, Anton Walbrook (“The Red Shoes”) is amazing and so aesthetic as the leader of a peaceable community, where we also acquire a pretty young Glynis Johns, who is an orphan living there. Leslie Howard, an actor who I could gawk read the proverbial telephone book, is great as a writer who invites the strangers into his teepee in the woods, and Raymond Massey gives a scrumptious portrayal of a young man who has overstayed his leave from the military.
Also starring in this film is the Canadian landscape, which we secure to gawk and adore as the Nazis acquire their method from glide to skim.
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Though the position has some gaping holes, it is well written, fast-paced, and quite involving, and is a gripping film from an historical perspective, and because of the participation of so many immense performers and filmmakers.
This was Powell and Pressburger’s contribution to the British war difficulty. It’s main aim was to support sway the American public into joining the war on the British side. By 1940, Britain and it’s Empire, including Canada, were at war with Nazi Germany. America remained adamantly neutral. The US Neutrality Act forbade any remark appeal by the British to the American people but P&P sidestepped this by having the Germans stage a landing in Canada instead and showing how the Nazis were a threat even to far-away America.
The crew of the German raider U-37, after torpedoing a Canadian merchant ship, is sunk by the RCAF in northern Hudson Bay, come the Canadian Arctic (Talk of propaganda – as we learn in the commentary, the three B-10 bombers we inspect attacking the sub, actually made up the entire quick of the RCAF in 1940) . Six of the U-37 crew produce it to shore alive. They have to heinous hostile Canadian territory to come the safety of neutral America. The film contrasts the kindness and decency of Canadians, emphasising their kinship with their American brethren to the south, against the brutality and inhumanity of the Nazis. As the U-37 crew bound southward, they encounter various Canadians who indicate their loyalty in one plot or another, often delivering ringing lectures about the rightness of the allied cause. Laurence Olivier is almost unrecognisable as the jolly French trapper whom the Nazis try to tempt by declaring that Hitler has sworn to free French Canadians from the tyranny of the British. Instead he risks his life trying to warn the Americans. Eskimo hunters (Inuit), described as semi-apes by the Nazis, manage to extinguish one of the Germans as they coast south. Leslie Howard plays to type, the caricature of the glib, upper-crust, Anglo-Canadian gentleman, totally uninterested in the war half a world away, but who finally stands up when it truly counts. Raymond Massey plays a Canadian soldier gone AWOL. We gaze Blackfoot Indians in chunky regalia, in the Canadian Rockies, staring balefully at the invaders, as the heroic RCMP hunt down the fugitives. Even German Canadians, in the perform of a German Hutterite community (similar to the Amish), create their loyalty to Canada obvious, when they proudly avow their German heritage while disdainfully forswearing any kinship with the Nazis. It is unabashed wartime propaganda and it is none too subtle. But it was and remains exquisite. P&P won an Oscar for the film’s recent screenplay.
All 18 minutes worth of footage previously deleted from the American release has been replaced. This includes the German Lieutenant Hirst’s exposition on Nazi racial theory, where he lumps the Canadian Eskimos (Inuit) together with Negroes as “semi-apes”, unbiased “one-degree” above the Jews. Also restored is the scene with the Inuit, Gash, lying monotonous on the floor with his skull shattered by a rifle butt. Also restored are references to the priest Father Malotte as a German watch – this latter sequence being deleted for fright of offending American Catholics. The ending works almost like an early Hitchcock thriller – will they or will they not approach the safety of America and what will the Americans do when they advance?
The portray has been handsomely restored with only an occasional instance of dirt seen. It is presented in a slightly window-boxed 1.33:1 aspect ratio. Dissimilarity, unlit level and grey scale are perfect. The sound is presented in its unique 1.0 mono, with definite dialogue and attractive music reproduction. Optional English subtitles are provided. There is an noble full-length commentary from film and music historian Bruce Eder. Aside from the film he talks at some length on Ralph Vaughan Williams’ stunning gather, relating it to Vaughan Williams’ various other works. The first disc is rounded out with the unusual theatrical trailer.
The second disc contains three items. The first is another P&P wartime anxiety, “The Volunteer”, a 46-minute recruitment film for the Royal Navy’s Rapidly Air Arm. It stars then Lt. Cmdr. Ralph Richardson with a cameo by his friend Laurence Olivier. It has extensive footage of the FAA, which by then (1943) was equipped with the Seafire (naval variant of the illustrious Spitfire) . We follow the Royal Navy as it sails around the Mediterranean with the Seafires being effect through their paces. The second item is an hour-long audio exerpt from the memoirs of Michael Powell detailing the making of 49th Parallel. The final item is a 50-minute BBC Arts documentary “A Splendid British Affair” chronicling the life-long partnership of Powell and Pressburger with tributes from younger America directors like Francis Coppola and Martin Scorcese. Describe and sound are advantageous throughout. There is a 10-page booklet with a blooming article on P&P’s various wartime efforts, followed by the transcript of Michael Powell’s speech at the premier of 49th Parallel.
Note: The 49th Parallel refers to the US-Canada border, which as the film states at the beginning, remains the only undefended border in the world.
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