A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.
Walter Matthau plays a professional killer going by the name of Trabucco, who is on his way to rub out gangster Rudy "Disco" Gambola, set to testify against the mob. As Trabucco heads off ... See full summary »
It's a dreary Christmas 1944 for the American POWs in Stalag 17. For the men in Barracks 4, all sergeants, have to deal with a grave problem - there seems to be a security leak. The Germans always seem to be forewarned about escapes and in the most recent attempt the two men, Manfredi and Johnson, walked straight into a trap and were killed. For some in Barracks 4, especially the loud-mouthed Duke, the leaker is obvious: J.J. Sefton, a wheeler-dealer who doesn't hesitate to trade with the guards and who has acquired goods and privileges that no other prisoner seems to have. Sefton denies giving the Germans any information and makes it quite clear that he has no intention of ever trying to escape. He plans to ride out the war in what little comfort he can arrange, but it doesn't extend to spying for the Germans. As tensions mount and a mob mentality takes root, it becomes obvious that Sefton will have to find the real snitch if he is to have any peace and avoid the beatings Duke and ... Written by
William Holden threw himself into the role with a great deal of intensity. His hair was cropped into a crewcut and his face unshaven, a look that not only gave the character reality but also undercut the actor's good looks. Usually friendly and lively on a movie set, he was withdrawn on the Stalag 17 set and complained about the noise and pranks among the rest of the cast, some of whom had an easy camaraderie from more than a year of doing the play on stage. But as his confidence grew in the role, Holden became more at ease, sometimes even frivolous, on the set. See more »
When Sefton is explaining how he got hold of the telescope, he explains that he got together a "few lenses and a mirror". The telescope he has in the barracks is a refractor telescope, which doesn't use mirrors. See more »
When Johnny Comes Marching Home
Written by Louis Lambert
Played during the opening credits
Played on a record and sung by the prisoners of war
Whistled a bit by Gil Stratton at the end See more »
This absorbing and very entertaining movie creates a believable and interesting cast of characters, puts them into an intriguing story, and uses its settings, props, and other resources very creatively. It is a fine combination of drama and comic relief that stands up very well against anything else of its type. The setting and atmosphere are quite believable, and they make it easy to enter the characters' world.
The opening sequence sets up everything nicely, with most of POW's helping two of the prisoners in an escape attempt, while William Holden as the cynical Sefton separates himself from the rest. Sefton is interesting enough as it is, a man who simply by remaining true to his nature cannot help arousing suspicion and antagonism, and Holden was quite a good choice to play him. The story builds up nicely, with developments coming at a careful pace, and some good stretches of lighter material.
There are numerous interesting characters and good performances among the other prisoners, and in particular Robert Strauss and Harvey Lembeck steal more than one scene with their antics which, though goofy, are also an appropriate complement to the main plot and the setting. The German characters are more stylized, but both Sig Ruman and Otto Preminger make them come to life, and help them fit in seamlessly with the others.
Billy Wilder's direction and the photography also deserve praise. Besides the way that each sequence fits together so nicely with the others, there are several individual scenes and shots that are done in an impressive fashion - not flashy, but creative and thoughtful. The scene with Holden lying on his cot while most of the others sing and celebrate is one particularly good example. There is a wealth of good material throughout, making "Stalag 17" a classic that has lost nothing over the years, and one that can be seen and enjoyed several times.
26 of 33 people found this review helpful.
Was this review helpful to you?