Watch on the Rhine (1943)

Undescribable Perfection

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Yes, Paul Lucas deserved best actor for this film. Bette Davis and a fine supporting cast bring out a terrific performance. The film is very well constructed by one would come to expect that when the author of the Broadway play brings that play to the screen with the help of the author of The Thin Man.There are many subtle points in this movie younger viewers miss. For example, the kids act robotic and unreal at times. The reason for this is because these kids were according to the story-line, schooled in Nazi Germany and that is how kids were schooled by Nazis. The youngest son particularly is alarming scripted as a Nazi Brainwashed Programmed Child. This is an extremely intelligent point most viewers miss now, as it has been a long time since this was written. Lucas as the father speaks to the children late in the movie about saving all children their "childhood". That is what this speech is about, not being brainwashed on how to think.Meanwhile, PC people have cringed at this movie being shown, so for years it did not get a lot of air play. That is because the black cast here is shown as servants, just like many films in this era. That is hard for the politically correct person to accept, because we are not supposed to show them reality. It reminds me of another Liberal view which justifies racism - "Black Slaves who came to America were not immigrants, because they were slaves." Now here is the definition of -im·mi·grantˈiməɡrənt/noun- a person who comes to live permanently in a foreign country. Sorry, it does not matter if someone chooses or is forced to come to another country, once they do, by definition they are an immigrant if they live in that country permanently. This movies author is considered Liberal and even Communist by some. They are also quite Racist, and that is an important point to remember. Regardless of the authors intentions in writing the play, and helping to convert it into a film, the film accurately portrays many views at the time. Yes, this film is very much war propaganda. Bette Davis added needed star power to an outstanding cast and a well written script. It is really war propaganda more than anything else as in 1943, there were several films from Warner Brothers that were. In fact, several members of the supporting cast were regulars in Warners films that year.The alarm that should be raised by this movie is it illustrates how political views can be drummed into people to the point of making society dangerous. It is still happening today, and this film should be shown as a base primer on how it was done then, and remind us of how it is being done today.The last scene with Davis and the oldest son is an interesting epilogue. It presents the oldest son as loving his dad so much, that he wants to follow in his footsteps in hopes of finding him, and contributing to the cause his father stood for - freedom from oppression. It is a telling message.

Pretty much anything Bette Davis did is memorable and entertaining with this movie being no exception. The movie starts out establishing a contrast which may appear to be slow but is necessary for the film to achieve its potency and grand finale to earn that 8 rating. At some point, it kicks in real nice and starts with a deep emotional tension that draws you into the movie and its premise. All the acting is superb with moments of genuine gut-sob temptation working on you in many scenes no less. The film forces one to choose an early side when the Germany is brought up. In the early Germany, there were good Germans who stood for their country in the right way. It was the fascists or Nazis that help introduce us to the not so good Germans. Just hearing how they go about their nefarious business practices and methods makes one not like them on that alone. Remember, back then, these type of films helped to make America stronger regardless of what you might think. You clearly see how Americans practice live and let live until America is threatened. Americans draw the line as they should. Kleenex, snack and tasty drink recommended. No texting or bathroom breaks after the first 15. Pay attention and let this movie have its way with you. Rewarding & satisfying ending worthy of discussion

It's easy to watch Watch on the Rhine (1943) as a call to America to acknowledge the danger of Naziism. That's loud and clear -- and very moving. But it functions as a historic document in its astonishing limitation, as well. Even as it extolls America's embrace of freedom on the world stage it portrays without irony or questioning America's own moral problem, the inheritance of slavery and its inherent dehumanization of its own people. While the heroes fight fascism abroad the film implicitly countenances the fascism of racism in America. Dashiell Hammett wrote the screenplay, based on his romantic and writing partner Lillian Hellman's Broadway success, with her additional scenes and dialogue. Both were bright, liberal minds, sensitive writers, committed to the ideals of American democracy and militant defenders of humanity against the Nazis. Yet despite those credentials, they set the Bette Davis's family home on a plush plantation a drive away from Washington. The family has black servants whom the matriarch orders around imperiously. If there's any liberalism in the writers' view of these blacks it's restricted to a bit of eye-rolling sass. Otherwise the blacks here are simply the plantation stereotype -- especially the two wide-eyed mutes brought from the garden to shuffle the sofa. The servants have no exchange with the Davis heroine or the Paul Lucas saintly hero. When this film was made America's liberal intelligentsia had apparently not yet recognized the injustice of its racism. That's this film's real statement to us now. Like Hellman and Hammett we may think we've achieved a state of moral awareness and courage - - but what blinkers might we be wearing unawares today? For that we have to wake for future artists and critics to expose us. For more see www.yacowar.blogspot.com.

A cautionary tale about the insidiousness of evil and the dangers of complacency this film is as timely as ever. Bette is very subdued here as befits her character and so when she is moved to action it is all the more involving. Lukas is excellent recreating his stage role, as do all the adult actors here excepting Bette and Geraldine Fitzgerald, as a man fiercely committed to his cause. The wonderful Lucile Watson makes every second she's on screen count as the strong-minded Fanny Farrelly, while always good this is probably her best on screen work. A compelling film, it is at times verbose but what is being said is worthwhile so that isn't really a debit.