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These are the words spoken by the Nazis in this film to strike enough anxiety into the hearts of Americans to benefit them to join WWII, in this all-star propaganda vehicle that is riveting and features terrific performances; some of the grand names interested in this production were also slack the camera, with Michael Powell directing, Emeric Pressburger as writer, Freddie Young as cinematographer, David Lean as editor, and a glean 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 astonishing and so fair as the leader of a peaceable community, where we also procure a splendid young Glynis Johns, who is an orphan living there. Leslie Howard, an actor who I could sight read the proverbial telephone book, is favorable as a writer who invites the strangers into his teepee in the woods, and Raymond Massey gives a palatable portrayal of a young man who has overstayed his leave from the military.
Also starring in this film is the Canadian landscape, which we come by to study and appreciate as the Nazis originate their map from flit to skim.
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Though the set has some gaping holes, it is well written, fast-paced, and quite titillating, and is a keen film from an historical perspective, and because of the participation of so many broad performers and filmmakers.
This was Powell and Pressburger’s contribution to the British war difficulty. It’s main aim was to relieve 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 sing 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, advance the Canadian Arctic (Talk of propaganda - as we learn in the commentary, the three B-10 bombers we notice attacking the sub, actually made up the entire rapidly of the RCAF in 1940) . Six of the U-37 crew get it to shore alive. They have to unfriendly hostile Canadian territory to approach 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 walk southward, they encounter various Canadians who expose their loyalty in one plan 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 slay one of the Germans as they skim 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 leer Blackfoot Indians in fleshy regalia, in the Canadian Rockies, staring balefully at the invaders, as the valorous RCMP hunt down the fugitives. Even German Canadians, in the develop of a German Hutterite community (similar to the Amish), develop 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 savory. P&P won an Oscar for the film’s fresh 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”, honest “one-degree” above the Jews. Also restored is the scene with the Inuit, Slit, lying plain on the floor with his skull shattered by a rifle butt. Also restored are references to the priest Father Malotte as a German glance - this latter sequence being deleted for terror of offending American Catholics. The ending works almost like an early Hitchcock thriller - will they or will they not advance the safety of America and what will the Americans do when they near?
The relate 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. Difference, dusky level and grey scale are perfect. The sound is presented in its current 1.0 mono, with certain dialogue and fair music reproduction. Optional English subtitles are provided. There is an ample full-length commentary from film and music historian Bruce Eder. Aside from the film he talks at some length on Ralph Vaughan Williams’ pleasing win, relating it to Vaughan Williams’ various other works. The first disc is rounded out with the novel theatrical trailer.
The second disc contains three items. The first is another P&P wartime pains, “The Volunteer”, a 46-minute recruitment film for the Royal Navy’s Hastily 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 set aside 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 Resplendent British Affair” chronicling the life-long partnership of Powell and Pressburger with tributes from younger America directors like Francis Coppola and Martin Scorcese. Characterize and sound are superb throughout. There is a 10-page booklet with a graceful 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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