Throughout the 1960s, as in the previous two decades, American studios continued to produce big budget films about World War II. The best of these was probably The Longest Day (1962).

Another notable entry in the genre was The Train. It was grim drama starring burly Burt Lancaster, with the story taking place in August 1944.

Allied forces are about to liberate Paris. The hated Germans are evacuating, but are looting as well. Nazi Colonel van Waldheim (Paul Scofield) is obsessed with taking the best (or at least the most famous and valuable) French paintings from a prestigious Paris art museum, and shipping them by train to Germany.

The museum's curator (Suzanne Flon) informs French resistance at the train yard of the plan. They decide to sabotage the shipment plundering the 'cultural heritage of France', so that the paintings will never reach Germany. Railway inspector Labiche (Burt Lancaster) and paunchy, unreflective Papa Boule (Michel Simon) lead the sabotage effort. Grumpy but attractive Christine (Jeanne Moreau) later helps shelter Labiche from vengeful Nazi soldiers.

The film was based on a true story. However, the train loaded with priceless paintings was simply routed on a ring railway, where it rode in a circle around Paris until it was liberated. The demands of a war dramatization apparently require a more inspirational story; one involving heroism, sacrifice and Nazi savagery.

The Train asks the rhetorical question, how do you measure in lives the value of a nation's cultural heritage? The film answers the question as well. The heritage is apparently worth as many lives as it takes to preserve it.

The most spectacular scene has two large steam engine trains colliding. Actual trains were used. The incoming train was traveling much faster than expected, and the cameramen had to run for their lives. Several cameras were destroyed in the collision.

Lancaster performs his own stunts during the film, including some painful rolls down hills. He injured his leg on one scene, so badly that it caused him to limp. The injury was written into the script, and his scenes that take place earlier in the film had to wait until his leg had recovered.

When the production began, Arthur Penn was the director. However, he had disagreements with the producer, Jules Bricken. He was replaced with John Frankenheimer, whose best film from the period was The Manchurian Candidate. When Frankenheimer first read the script, he thought it was terrible, and had it rewritten. Frankenheimer was Lancaster's favorite, having worked with him previously on The Young Savages, Seven Days in May and The Birdman of Alcatraz.

Other than the imposing Michel Simon, and token love interest Moreau, Lancaster's heroics soon overshadow those of his fellow countrymen. Lancaster makes no attempt at a French accent. The other (and lesser) French characters are played by French actors. It is clear that the studio felt that a Hollywood star was needed in the major (and most heroic) role, to reach an American audience.

The ending could only occur in a movie. Predictably, there is a final confrontation between Scofield and Lancaster by the train. Scofield delivers a curious speech about how a French working man cannot possibly understand the significance of a painting. To paraphrase: "Hey stupid French guy, I'm over here! You were so lucky, and you don't know anything about art either! These paintings belong to me! Only I can understand them!" Lancaster's response is not very charitable.

In the only moment of comic relief, a Nazi officer is forced to pay for Lancaster's hotel room. This scene doesn't work, as the officer could have the hotel owner shot if he had so desired.

The film is tense throughout, but suspense is surprisingly absent. No audience would ever accept the destruction of the paintings. Their preservation is assured. Lancaster's death, if it is to occur at all, can only happen at the end of the film (e.g. the similar Von Ryan's Express).

Nonetheless, The Train has been highly regarded since its release. It received an Academy Award nomination for Best Original Story and Screenplay (Franklin Coen, Frank Davis). (57/100)




Recommended: No