U-Boote westwärts! (1941)

When I first discovered and read about the German World War II film U-Boote westwärts!, I was struck by the extreme story similarities with the British film We Dive at Dawn from two years later. So struck that for a while I speculated whether the latter might actually be a loose remake of the former.

German submarine U-123 in U-Boote westwärts / U-Boat, Course West (1941)

The initial story structures are, indeed, strikingly similar. A submarine returns to port after a long and hard mission at sea (scenes of surfaced submarine moving steadily forward through picturesque sea and port backgrounds). The crew is looking forward to a long and well-deserved shore leave. They meet up with families, fiancées and various other female friends. One is about to get married. But duty calls. The Queen/Führer needs them and they have to set to sea immediately in order to fulfil an important mission.

However, even during the brief shore leave sequence, the differences between these two films start to become apparent. Beyond the abovementioned similarities, these films are very different at their cores.

Compared with the British film, U-Boote westwärts! seems much more realistic, both in terms of the submarine interiors, and in terms of the missions and situations that a World War II submarine would typically face. On the other hand, the story lacks the intensity, action and adventurous touch that the British production has. Which version you prefer thus depends on whether you prefer realism or suspense.

This film is best enjoyed if you like old war films. U-Boote Westwärts! is not a great film, and some will be further put off by the propagandistic portrayals of British seamen. Nevertheless, it has several good qualities, including some very solid actors.

Herbert Wilk in U-Boote westwärts / U-Boat, Course West (1941)

U-Boote westwärts!
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Year: 1941
Language: German (English subtitles)
Running time: 1 h 37 min
Director: Günther Rittau
Stars: Herbert Wilk
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Acceptable
Best file format: Matroska (681 M)

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Stukas (1941)

I have had an almost lifelong fascination for aviation movies. When I was a kid, I dreamt of becoming a pilot, and I guess the best aviation movies sort of made that dream seem true for a brief time. For several years now, I have wanted to see a number of German World War II propaganda films on that topic, and in particular the film Stukas, about the infamous dive bombers that totally dominated the sky during the successful Blitz in the early parts of the war. I was therefore very excited to find, at last, a good copy of the film at the Internet Archive some time ago, and my expectations were completely met.

Carl Raddatz and O. E. Hasse in Stukas (1941)

Set during the Battle of France, which had ended only about a year before the film’s release, the film depicts the joys and hardships of a Luftwaffe group of Stuka pilots. The need of constantly being on the alert and the sorrows of losing dear friends in battle, but also the strong comradeship and the sense of accomplishment after a successful mission.

The film is well paced for the most part. In the beginning the constant victorious missions over French territory may feel a bit repetitive at times, and the final segment of the film is too long and drawn out. But these are minor quibbles over a film that, in spite of the subject matter, is overall very enjoyable.

The choice of Stukas was not coincidental. It was one of Germany’s most important and efficient weapons during the early parts of the war. Later, however, such as during the Battle of Britain, the Stukas would suffer considerably when they no longer could enjoy the luxury of full air superiority and therefore much less fighter support. This knowledge gives an unintended ironic twist to the final scenes, where the brave pilots fly off towards England, singing a gay patriotic song (yes, really!).

The copy I downloaded appears to be spliced together from at least two copies of vastly varying technical quality. Fortunately, the larger part of the film is in good shape, but during some short scenes, sound and image are barely tolerable.

This film is best enjoyed if you can stomach some pretty thick German propaganda, but if you do you will be treated with a number of effective and often spectacular flight scenes. As far as I know, no flying Stukas exist anywhere in the world, so films like this one are the only chance to see actual Stukas in action. This is not to be missed if you are an aviation history nerd!

Junkers Ju-87 Stuka in Stukas (1941)

Stukas
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Year: 1941
Language: German (English subtitles)
Running time: 1 h 38 min
Director: Karl Ritter
Stars: Carl Raddatz
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Acceptable
Best file format: DivX (903 M)

The Battle of China (1944)

In Frank Capra’s classic Why We Fight series, where he tried to explain to the American public why it is important to participate in World War II, the turn has now come to The Battle of China.

Frank Capra's The Battle of China (1944)

Actually, there never was a battle of China as such. There were a great many battles fought in and around Chinese territory during as well as before World War II. And, unlike The Battle of Britain (which was also not a “battle” in the traditional sense), the term “The Battle of China” has not stuck in people’s conscience.

Ok, so the title is a misnomer. Big deal. The film is brilliantly produced, and while it does not exactly present any right out lies (that I can detect, anyway), it bends and omits facts to suit its purposes. The Chinese people in general and Chiang Kai-shek in particular are glorified to the heights of heaven. They are brave, strong and hard-working. They are a worthy ally to the American people.

Like other parts in the series, and like many other American propaganda films from the war, it does not shy away from presenting some of the cruelties of war, such as wounded soldiers, or even dead children. That may seem surprising, but was probably done because it would presumably strengthen the American people’s will to fight.

This film is best enjoyed if you like the other parts in the series, or if you want to watch an episode to see what it is all about. I know that many hold it as their favourite of the entire series, and I am not going to say that they are all wrong.

Frank Capra's The Battle of China (1944)

The Battle of China
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Year: 1944
Running time: 1 h 3 min
Directors: Frank Capra, Anatole Litvak
Stars: Walter Huston (narration)
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Good
Best file format: MPEG2 (2.9 G)

49th Parallel (1941)

One of the first films made by the famous British team of writers/producers/directors Michael Powell and Emeric Pressburger (jointly known as “The Archers”) was the World War II propaganda 49th Parallel.

Finlay Currie, Laurence Olivier and Eric Portman in 49th Parallel (1941)

The film begins with a German submarine that tries to hide in Hudson Bay after being hunted by the Canadian navy. The submarine is eventually caught up with and sunk, but a small group of survivors start to make their long way across the enormous nation of Canada, trying somehow to find a way to neutral or allied territory.

The film has an interesting structure. It is basically a series of short stories, strung together by the evil protagonist in the shape of Leutnant Hirth. Hirth is well played (though not exactly delicately) by Eric Portman. As he and his small group of Germans go from one place to the next, they also move from story to story. And there is where we meet the true heroes, played by Laurence Olivier, Leslie Howard, Raymond Massey, and others. They are true-blooded Canadians, who stand up for their country, against oppression and tyranny.

49th Parallel in some ways forms an interesting counterweight to One of Our Aircraft Is Missing, Powell’s and Pressburger’s joint project from the following year. Both films share the theme of a crew that has lost their vessel and now have to make their way through enemy territory. The two stories share many similarities, but through the filter of propaganda they still emerge as completely different films. They are also very good, so I can only recommend that you download and watch both.

This film is best enjoyed for its powerful and well played drama. Even though Powell and Pressburger were yet to develop their true mastership in film making, we can already see many of the techniques that were to be used to make some of the best films in the history of cinema. 49th Parallel may not be quite up to that standard, but it is still excellent.

Peter Moore and Leslie Howard in 49th Parallel (1941)

49th Parallel
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Year: 1941
Running time: 2 h 2 min
Director: Michael Powell
Stars: Laurence Olivier, Raymond Massey, Leslie Howard
Image quality: Good
Resolution: Medium (664×502, not counting black border)
Sound quality: Acceptable
Best file format: MPEG4 (1.2 G)

A Diary for Timothy (1945)

It is 1945. The tide of war has finally turned in Great Britain’s favour. The Germans are retreating on all fronts, and victory is now more than just a vague dream. But many cities in southern England are in ruins, and the V2 rockets are still a very real threat. It is into this world that Timothy is born. As a tribute to him, director Humphrey Jennings tells the story of A Diary for Timothy.

A Diary for Timothy (1945)

I am not sure if Timothy actually existed, but whether he did or not is of minor importance. In this film, the infant baby is a storytelling device, and an effective one. Though the film is not really about Timothy, or his mother, the film repeatedly returns to them and their home in Oxfordshire.

But the stories told in this film are about other people. About the Air Force pilot recovering from his wounds. About the coal miner doing his best to produce as much coal as possible for the war effort.

This is pure propaganda, and well made. It stresses how both military and civilian personnel must work together to take Britain through the war. As a factual documentary, A Diary for Timothy has very little to offer, even though many factual events are doubtlessly recorded.

This film is best enjoyed for its effectively woven image of a strong and resilient country. A country that will not give in, no matter what. Additionally, it is interesting because of its narration, written by famous author E. M. Forster.

A Diary for Timothy (1945)

A Diary for Timothy
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Year: 1945
Running time: 37 min
Director: Humphrey Jennings
Stars: Michael Redgrave (narrator)
Image quality: Good
Resolution: Medium (768×576)
Sound quality: Acceptable
Best file format: MPEG2 (1.4 G)

We Dive at Dawn (1943)

The submarine film is an interesting genre, and We Dive at Dawn is a good representative. Here you will find everything to be expected from a good submarine film. The closed spaces, the comradeship and conflicts among the crew, the sounds of machinery and exploding depth charges, the excitement of the hunt and the tense waiting as the hunter turns to prey.

John Mills and Reginald Purdell in We Dive at Dawn (1943)

The British submarine Sea Tiger has just come back after a long time at sea. We get to see the various crew members as they go ashore for a presumed lengthy leave, but we barely get a glimpse of their private troubles before they are ordered back to ship for another important mission. As the somewhat disheartened lot take their vessel out again, they are told that they are going after the German battleship Brandenburg, as they should be able to catch up with her before she enters the Kiel Canal in northern Germany.

But when they take aboard some Germans from a rescue buoy, they learn that the Brandenburg is farther ahead than expected, and they will not be able to catch up. The ship’s captain (John Mills) then makes the decision to enter the Baltic and search for the German battleship there. But the decision is a foolhardy one. Not only because the Baltic is full of German ships, but also because they are running low on fuel.

Judging by its looks, We Dive at Dawn was a pretty cheap film. The submarine interiors look convincing enough to my untrained eye, but many small details, such as John Mills’ fake stubble, lack the attention which marks a really well-produced film.

Nationalism and propaganda naturally lurks in the background of a wartime production such as this. But it is never allowed to surface (pun intended) in the same way as in, for example, In Which We Serve (1942) or One of Our Aircraft Is Missing (1942).

This film is best enjoyed if you like either submarines or British 30s/40s films. Though not the best representative of either category, We Dive at Dawn nevertheless has enough good qualities to satisfy your hunger for more of those kinds of films. The story, while a touch on the sentimental side, is good and the actors are adequate.

Turkish S class (Oruç Reis class) submarine P 614 in We Dive at Dawn (1943)

We Dive at Dawn
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Year: 1943
Running time: 1 h 33 min
Director: Anthony Asquith
Stars: John Mills
Image quality: Good
Resolution: Medium (512×384)
Sound quality: Good
Best file format: MPEG4 (700 M)

The Battle of Russia (1943)

2017 marks the 100th anniversary of the October revolution in Russia, which led to the forming of the Soviet Union and 70 years of communist domination in Eastern Europe. During most of 2017, I will commemorate this by writing about several films with a Soviet connection. I started two weeks ago with Eisenstein’s Strike (1925). This week, I present to you The Battle of Russia, the fifth part of Frank Capra’s World War II series of propaganda documentaries Why We Fight.

A Soviet army marching in Frank Capra's The Battle of Russia (1943)

Last week, I wrote about The Battle of Britain, and I have also written previously about The Nazis Strike. These, along with the rest of the films in the series, are both very similar and very different from one another. Walter Huston’s excellent narration help to make them similar, as does the style of cutting and the similar looking animated maps and other graphics. Yet, each is uniquely woven around its fact content. In the case of The Battle of Russia, that fact content tells the dramatic, and often tragic, story of Hitler’s idiotic attack on the Soviet Union.

One reason why The Battle of Russia is interesting is that it was seemingly made with respect for the Russian nation and its people. Anatole Litvak, who was the main director (together with series director Frank Capra) was himself Russian. Thus, while the film is certainly propaganda to a large extent, it also shows a deep understanding of Russia and its struggle. It is probably significant that the title contains the word “Russia” rather than “Soviet”. I know next to nothing about Litvak’s background, but I am guessing, based on the film’s contents, that he was not a communist nor, for that matter, a believer in the idea of the Soviet Union. Indeed, Soviet is only mentioned in passing in the film and communism not at all. Mostly, it talks about Russia and the Russians.

Like other parts in the series, The Battle of Russia is propaganda, and it must be used with caution for historical facts. I am guessing that most facts presented in the film are basically true, but on the other hand many things are left out.

This film is best enjoyed for its excellent use of a variety of film material. Everything from old Russian silent historical dramas to captured Nazi propaganda films are used to produce a living picture of how the Soviet Union and the United States became allies in World War II. This is doubly interesting when you consider the bitter enmity that was to replace this alliance only a few years later with the coming of the Cold War.

Soviet soldier with machine gun in Frank Capra's The Battle of Russia (1943)

The Battle of Russia
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Year: 1943
Running time: 1 h 23 min
Directors: Frank Capra, Anatole Litvak
Stars: Walter Huston (narration)
Image quality: Good
Resolution: Medium (720×540)
Sound quality: Good
Best file format: MPEG2 (3.8 G)