Night Train to Munich (The Criterion Collection) [Blu-ray]

It's a damn shame that NIGHT TRAIN TO MUNICH seems fated to forever languish in the shadow of its predecessor THE LADY VANISHES. I love these two movies, and admit readily to a likeness between the two. Both are enthralling wartime espionage thrillers which spend crucial passages of time on a train hurtling thru enemy territory. Both star my early crush Margaret Lockwood. Both feature the same scriptwriting team, and both feature those ever inconvenienced, cricket-obsessed side characters, Charters and Caldicott. These two films are cinematic gems, and I will give THE LADY VANISHES the nod because it did come first and because Hitchcock helmed it. But I also harbor mad love for NIGHT TRAIN TO MUNICH.Those who've only ever seen Rex Harrison as Dr. Dolittle or Henry Higgins are in for a startlement because this mannered gent surprisingly makes for a dashing and resourceful secret agent. Although it doesn't seem that way when he's first introduced to us. We first meet his character - with the very unspylike name of Gus Bennett - as he awfully warbles sappy songs by the pier. But, of course, that's only a cover. Bennett turns out to be the British contact and guardian of a Czech scientist, and shame on Bennett for getting coshed and allowing the scientist and the scientist's lovely daughter to be captured by Nazis on English soil. Turnabout being fair play, now Bennett must sneak into Germany on his own extraction mission.Germans impersonating Englishmen. Englishmen impersonating Germans. It's a tangled plot that then little known director Carol Reed weaves, but he's got the chops and he directs the film surely and tautly. It's a story that takes place predominantly on the night of September 3, 1939, when England declared war on Germany. The globe-trotting intrigue shifts from Prague to England to Berlin to the Swiss Alps. The screenplay crackles with tension and yet finds space to interject some biting and rather eyebrow-raising (for its time) romantic interludes, as well as generous heaps of levity.There's always been something a bit off-putting about Rex Harrison, and the Hollywood rumor has it that the man has always been this vain, impudent character. In this instance, his air of superiority services his two roles, initially as British secret service chap Gus Bennett but, more tellingly, later on as the monocled Major Ulrich Herzoff of the German Corps of Engineers. Carol Reed keeps things nerve-jangling during "Major Herzoff's" infiltration of the German high command, his arsenal consisting of nothing more than a fabricated letter of introduction, his quick thinking, and sheer guts. Still, it's a lot of fun when Margaret Lockwood, in the German hotel scene, punctures Harrison's bubble. It's also a nod to the film's often sparkling dialogue:- Anna Bomasch (Lockwood): "Y'know, if a woman ever loved you like you loved yourself, it would be one of the romances of history."- Gus Bennett: "Yes, I'm unlikely to think of an adequate reply to that. I think we ought to drink a toast. England expects that every secret service man this night should do his duty." Then, as Bennett pops open a bottle of champagne: "Flat."I don't think you give a what that the film is based on the novel REPORT ON A FUGITIVE by some guy named Gordon Wellesley or that the Czech scientist is crucial to the war effort because of his formula for armor plating. Those things don't matter. NIGHT TRAIN TO MUNICH is pure escapism, so the advice is to just sit back and take it all in, not only the best parts of the film but also the rather shabby miniature work, and the parts of the story which drag in the middle, and that, in the climactic cable car shootout, Gus Bennett's pistol can't seem to run out of bullets. In the supporting cast Paul Henreid is very good, and Basil Radford and Naunton Wayne (Charters and Caldicott) get off their duff and do more than act oblivious, maybe because there's no cricket match in the offing. Another delightful bit is that we get to see Rex Harrison actually croon a song ("Only Love Can Lead the Way") instead of speaking a song.Surprisingly, for a Criterion release, there's a dearth of bonus features. We get a rather dry but informative half-hour's worth of discussion between film scholars Peter Evans and Bruce Babington about director Carol Reed, about screenwriters Frank Launder and Sidney Gilliat, and the sociopolitical climate in which NIGHT TRAIN IN MUNICH was set. There's also a 16-page booklet featuring still photos, a listing of cast & crew and film chapters, and film critic Philip Kemp's essay "A Last Laugh" which goes behind-the-scenes of the movie.And if you do end up liking NIGHT TRAIN TO MUNICH, why not give these following a try, if you haven't yet: PIMPERNEL SMITH, FIVE GRAVES TO CAIRO, and, of course, THE LADY VANISHES.

Love film noir. This is well done, story has a great plot . Alot of twists & turns !

To begin with, this is definitely a keeper.I loved the look of this film: the light and shadows, very elegant. I've always preferred black and white movies to color.Even so, I have to admit the beginning of this film gave me pause, I wasn't expecting it to start in a concentration camp. It really didn't start to take off until the appearance of its real star, Rex Harrison as Dickie Randall/Gus Bennett (agent extraordinaire). Even though the movie begins with Margaret Lockwood and Paul Henreid and they have the most screen time, their characters didn't enlist much of an impression, they were rather nondescript, anyone could have played their roles. Rex Harrison, on the other hand, commanded attention. It probably also helped that he had most of the best lines in this film and knew exactly what to do with them.The story is fraught with suspense, intrigue, humor, and just a little romance (Lockwood didn't seem to know what to do with Harrison, she wilted while he overpowered). A better casting choice might have helped. All the same, that's a minor point in the story. Things grew especially tense when all the characters were confined to a train heading for Munich. Even the considerable humor of Charters and Caldicott couldn't detract from the danger inherent with being trapped with the enemy. The multiple escapes throughout were nicely timed (although there was that odd bit when they were given a tremendous head start that must have been a hour worth or more and still the bad guys managed to catch up). I too, loved the gun with an almost never ending supply of bullets. It came in handy.Topped off with a great ending, who could ask for more?

The comparisons to The Lady Vanishes have been blown out of proportion. Night Train to Munich is way better and way cooler. Aside from a couple familiar faces and some scenes on a train there is no comparison for me. If you like spy thrillers such as From Russia with Love and Where Eagles Dare, be sure to give Night Train a shot.*spolier alert*Paul Henreid is one of the best parts of this film and his organized escape is brilliant. At first I thought, "Oh great, another noble anti-Nazi hero. *yawn*" and then was surprised by the excellent twist that he actually is a Nazi spy. His dejected look at the end is priceless.Rex Harrison is adequate, but doesn't come off as likable or believable as Henreid. It was confusing that his character was initially named Gus and then the British couple on the train recognizes him as "Dicky Randall." The first time I watched the film, I was like, "Wait...who is Dicky Randall??"A couple other things that weaken the film for me are the fact that the British couple does not show any remorse or even realize that they totally blew his cover as a spy. Nor does Randall seem cross with them about it. Also, how did these two buffoons overpower two armed SS guards on the train?Overall, a forgotten WWII classic that still feels fresh today. Thank you Criterion for re-releasing it.

An excellently cast and directed film by Carol Reed; nine years before his 'The Third Man' film. I agree with the supposition that had Alfred Hitchcock still been directing in Britain at this time; it would have been one his films. Reed did an excellent job, directing with a surety worthy of the master. Reed cleverly employs Basil Radford and Naunton Wayne along with Margret Lockwood, all from 'The Lady Vanishes' cast in this delightful romp commencing with the Nazi's occupation of Czech O Slavkia, an event that prefigures the commencement of WW2. This exciting chase/espionage film rattles along at a good pace that along with its many adventures catapults the drama into the commencement of WW2.An excellent film for those interested in the events and concerns of many that led up to the last great global conflict, along with skillfully placed comic moments. All worthy of A. H.

Rex Harrison's chiselled profile cuts its way insolently through 90 minutes of homely espionage, as he rescues Margaret Lockwood and her boffin 'father' from evil Nazi fanatic Paul Henreid. Plenty of atmosphere and railway smoke, culminating in an alpine stand-off. Basil Radford and Naunton Wayne bat and bowl their way to the pavilion with distinction (as in "The Lady Vanishes") and will be mentioned in despatches. A young-looking Raymond Huntley manages a rather entertaining cameo as a cynical German office functionary ("It's not a fine country; it's a bloody awful country..").Funny, exciting and entertaining, superbly directed.

This review is for the CRITERION DVD. An excellent transfer, 4.3 ratio, good clear picture and dialogue (but as "Film Fan" says, there is music that does require the remote, but it isn't too frequent.) Good action, good cast (Lockwood is excellent), direction, thrills and comedy (and Irene Handl). A classic, and this is a must have version. Good booklet accompanies the DVD plus a conversation about the film and Carol Reed. Highly recomended

A comedy thriller with Nazi spies one needs to get into the classic cinema pace, which is slow by present standards. Produced soon after Hitchcocks 'The lady vanishes'it shares some characters and of course a train. Night Train does not have the polish of Hitchcock but has a good story, some classy direction and acting, and is interesting as a run up to some very great films by Carol Reed.

I found it too be unusual and full of suspense. All in all a good film.