Exactly what one might expect from a collaboration between Lang & Brecht; a didactic political story full of straight-to-camera sermonising, scathing anti-fascist rhetoric & a brazenly artificial approach. Lang's direction is impeccable; his use of deep focus imagery & expressionist shadowplay predict film noir; but it's the themes of scapegoats & persecution, of people turned against each other, that really lingers.
You might think that a film directed by Fritz Lang, with writing credits of Bert (sic) Brecht and Fritz Lang and with cinematography by James Wong Howe, combined with a cast including Brian Donlevy, Walter Brennan and Anna Lee would have interesting possibilities. It doesn't.
Manages to be gripping almost despite itself but the clash between Hollywood convention and the true horror of this story makes it unsatisfactory viewing. The acting really is very wooden but the locations are evocative. I watched it to its somewhat limp end.
Como prácticamente todo el trabajo de Lang durante la guerra, esta es una película de propaganda. Lo cual significa que lo importante no es hacer una buena historia, sino hacer una historia con un mensaje específico. El resultado es un guión mediocre y poco creíble. La fotografía no está mal en algunas escenas, pero fuera de eso no hay mucho más en esta movie.
Bertolt BRECHT - Fritz LANG - HERITAGE de l'EXPRESSIONNISME ALLEMAND Written by John Wexley from a story by Bertolt Brecht and Lang. Film racontant l'assassinat du chef nazi Heydrich sous forme de fiction. C'est l'unique scénario de Bertolt Brecht pour le cinéma d'Hollywood. https://www.facebook.com/zyx.mhclaes/media_set?set=a.792006477522164.1073741938.100001384583310&type=3
This is no history lesson (if I want to have accurate information I grab a history book) but a work of art by anti-Fascist German artists, a unique cooperation between Fritz Lang, Bertolt Brecht and Hanns Eisler. Of course it is a propaganda film (like Curtiz' "Casablanca" in 1942), but its subject - told in a very sophisticated way - is the dynamics of resistance (or the way the artists imagined/desired it).
This film is about silence, where most WW2 films(Schindler’s List!!!) is about noise. In the ellipses, one can hear a cry of agony. The cry is silent, therefore louder than bombs. This cry is a single person's cry, yet the cry of all humanity. The pain and the courage in the film is as recognizable as the sun, because it is not made artificial in the filmmaking process.
What an edgy film! I loved this. First off, I loved seeing 1943 stock footage of Prague after just vacationing there, but this story really put more of the harsh reality of the war in the forefront without the typical Hollywood sugar-coating. It was tragic and devastating without too much of the rose-colored glasses look at the war. Well done.
A principled dilemma between sacrificing the life of a hero or those of many innocent brothers. However Lang does not resolve the issue as the film veers prematurely into a sort of film noir not particularly original. Outdated acting and average cinematography. Over-long for what it is on offer.
Very 'of its time'. A patriotic war movie complete with swaggering Nazis, coldly sinister Nazis (their moral corruption manifesting s a troublesome pimple?); or slightly camp, effete Nazis. Any debate about the moral dilemmas of hiding a single fugitive while hundreds are threatened with reprisals is quickly brushed aside in favour of more heavy propagandising.
Avec "Les bourreaux meurent aussi", Fritz Lang montre qu'il est parfaitement apte à se couler dans les normes hollywoodiennes à base de fortes doses de manichéisme et de romanesque. Si on peut lui reprocher certaines facilités scénaristiques ainsi qu'une morale douteuse, ce film n'en reste pas moins une oeuvre fort agréable à suivre