The Good, The Bad and The Critic

Established on March 19th, 2012 and pioneered by film fanatic Michael J. Carlisle. The Good, The Bad and The Critic will analyze classic and contemporary films from all corners of the globe. This title references Sergei Leone's influential spaghetti western The Good, The Bad and the Ugly.

Monday, August 7, 2017

Review #984: Stalag 17 (1953)

Title: Stalag 17
Year: 1953
Director: Billy Wilder
Country: US
Language: English
Stalag 17
was a commercial success. Produced on a budget of $1,661,530, it earned $3.3 million in the US and well over $10 million worldwide. The film was well received and is considered, along with David Lean's Bridge on the River Kwai. One of the biggest hits of Billy Wilder's career, he expected a big piece of the profits. The studio accountants informed him that since his last picture Ace in the Hole(1951) lost money and that it would be subtracted from his profits. He left the studio soon thereafter.

When two escaping American World War II prisoners are killed, the German POW camp barracks black marketeer, J.J. Sefton (William Holden), is suspected of being an informer.

Sralag 17 was nominated for three Academy Awards (Best Picture, Best Supporting Actor, and Best Actor) and managed to win one, the Best Actor award for William Holden. His speech was the shortest in Oscar history when he merely said "Thank You". This film is, surprisingly, a POW comedy. I'm unsure what to think of this; would have Wilder known just how bad conditions were in German POW camps? Is it ethical to gloss over such hardship? The humour works at times, but knowing what we know now about the period it's somewhat cringey.

In defense of Wilder's picture it is pretty smart and engaging. Its mystery of "Who is the informer!?" leaves us on the edge of our seat. I particularly was impressed by a scene in which the men are singing When Johnny Comes Marching Home as it contrasted their hope and humanity with the horror of their situation. We know who the villain is by that time, so the seemingly joyful scene really hits the heart.

Overall Wilder's film is a decent picture, but it's a minor work compared to the man's many masterpieces. I'd argue that Stalag 17 is one of his weaker comedies, especially compared to Some Like It Hot and 1, 2, 3. Considering the great war pictures made during this period (see: Paths of Glory) I'm not sure this is an essential viewing. An entertaining picture, but it doesn't make much of an impact.




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