We are met with the scourge of Hitler overrunning mainland Europe. It’s about that time. American isn’t involved in the war. Britain’s getting bombed to smithereens and the rest of Europe is tumbling like rows and rows of tin soldiers.
Carol Reed always proved astute at setting the stage for great human dramas and Night Train to Munich is little different. Anna Bomasch (Margaret Lockwood) wakes up to find that the Nazis are on the march for Czechoslovakia and her father, a renowned scientist, is fleeing the country. However, she’s not so lucky and gets intercepted by the Nazis ending up in a concentration camp instead of aboard an airplane to freedom.
It’s in these moments where the script develops a fairly frank depiction of the concentration camps denoting that they were hardly a day of wine and roses. But in that very harrowing climate, she meets a proud rebel named Karl (Paul Henreid) who uses his underground contacts to help them escape and promises Anna that they will find her father in England. Hope still exists.
The man they wind up reaching in the British Isles feels more like a nobody than a top government agent singing tunes at a beachside promenade. But Dickie Randle (Rex Harrison) proves to be far more than he lets on at face value. Still, he is not the only one who holds that distinction and no sooner have they been reunited then father and daughter find themselves kidnapped by Gestapo spies and carried on a U-Boat back to the Fatherland.
We know where the final act must go as Randle heads into the mouth of the lion’s den to try and pull off a daring rescue that looks like an absolutely ludicrous endeavor with not even a half chance of succeeding. He masquerades as a member of the German corps of engineers and pulls the wool over on some of his denser adversaries. Still, one man is not so oafish and they must thwart the insider Gestapo man looking to trap them.
In its day and even now the film was pitched as a sequel to Alfred Hitchcock’s thriller The Lady Vanishes (1938). The connection can be attributed to several aspects including similar locales — namely a train — the same studio producing in Gaumont, the screenwriting skills of Sidney Gilliat, and even the same leading lady in Margaret Lockwood. For these very reasons, it does become an interesting exercise to juxtapose this later work with The Lady Vanishes.
In fact, Reed’s film you could say was steeped in politics more than anything dared by Hitchcock. But it might be a stride too far to surmise that Carol Reed was a political filmmaker. He was a master at creating compelling worlds planted in the realities that were already known to us such as war-torn Ireland or Post-war Vienna. They are real moments but as is explained so exquisitely at the beginning of Odd Man Out (1947), these are not the particular aspects that connect us together. It is the universal quality of the human experience that reaches us…
That Man is evil. That love leads us to make choices that others would not. That Man often makes war instead of peace. Admittedly, Night Train to Munich is not such a rich exploration in environment, character, or cinematic themes, but it still has power as a fairly frank thriller. It can be hailed along with films like The Mortal Storm (1940) and The Great Dictator (1940), for being astutely aware of the historical moment that they were embroiled in — at least more so than most.
There are innumerable jabs at the Nazis including one minor gag involving the inflection of the phrase “This is a fine country to live in.” One rascally dissident uses this precise scenario to slither his way out of an appointment with a local concentration camp. Still, a moment like this and similar gags in barb-laden comedies like The Great Dictator (1940) or To Be or Not to Be (1942) come with a certain solemnity. Because we know the vast amount of carnage such camps were guilty of.
Surprise, surprise that everyone’s favorite British comic duo Charters and Caldicott crop up again proving to be as fussy as ever. Except in such an edgy climate, they too feel oddly out of place. Because maybe the threat feels all too real and as far as characters go they are caricatures not fit for such a realistic world. They’re just not quite at home with Nazis and concentration camps and how could they be?
Still, putting them back in their element, that is, back aboard a train, it feels like all is right with the world again. But even then, they act differently. This time they stick their necks out spurred on and put in a general huff by the indecency of the Nazis. And if they can all of a sudden get patriotic then the assumption is that most any convivial bloke can.
Whereas the train acts as the hallmark of The Lady Vanishes, in this film it is more of an important stop along the way in the overarching narrative. This story boasts a thrilling cable car finale with a subsequent shootout that’s gripping despite the inexhaustible amount of bullets or maybe precisely for that very reason. Carol Reed’s films would only improve as the 1940s went on but there’s no denying the intrigue and political clout here. He deserves to be remembered among the foremost of British directors if not only for his revered masterpieces like The Third Man (1949) but also the minor classics like Night Train to Munich (1940).