The most notable film version of Lajos Biró's play 'Hotel Imperial' had been made by Mauritz Stiller for the silent screen and by all accounts Billy Wilder came across the script in the vaults of Paramount Pictures. As a renowned 'borrower' he and collaborator Charles Brackett proceeded to fashion the material into a wartime espionage thriller.
Despite some flag waving and jingoistic sentiments writer and director have resisted the temptation to make it an all out propoganda film and have imbued it with the human absurdities and dark humour that came to be indispensable elements in Mr. Wilder's oeuvre. Indeed, alongside the intrigue it plays at times like a farce, particularly in the performances of Fortunio Bonanova as a buffoonish Italian general and inveterate scene stealer Akim Tamiroff as the permanently flustered hotel keeper.
The leading man is Franchot Tone who has been gifted one of his best roles and although vocally he just about gets away with being an Anglo-Saxon his talent and aristocratic demeanor carry him through.
As the beastly Germans we have the marvellous Peter van Eyck, a protégé of Mr. Wilder and what can one say of the inimitable Erich von Stroheim as Field-Marshal Erwin Rommel? In light of what we now know of Rommel the casting of this actor is bizarre to say the least but very much in keeping with the Hollywood of the time. His presence is undeniable and his portrayal is not only reminiscent of his character in 'Foolish Wives' of 1922 but also a counterpoint to his humane Captain in 'La Grande Illusion' from 1937.
The performance which attracted the most attention was that of Anne Baxter as Mouche. On loan here from 20th Century Fox she has seldom been as alluring and her transformation from flirtatious chambermaid to defiant patriot is stunning.
Apart from the opening and finale the action takes place mainly within the confines of the ramshackle 'Empress of Britain' which gives cinematographer John F. Seitz ample scope in this, his first of four collaborations with Mr. Wilder, for unusual camera angles and atmospheric chiaroscuro lighting. The 'minimalist' editing is crucial and throughout their long association Mr. Wilder acknowledged his debt to editor Doane Harrison.
Critics at the time referred to this as an 'apprentice piece' but it would not be long of course before its director became a master.
Despite some flag waving and jingoistic sentiments writer and director have resisted the temptation to make it an all out propoganda film and have imbued it with the human absurdities and dark humour that came to be indispensable elements in Mr. Wilder's oeuvre. Indeed, alongside the intrigue it plays at times like a farce, particularly in the performances of Fortunio Bonanova as a buffoonish Italian general and inveterate scene stealer Akim Tamiroff as the permanently flustered hotel keeper.
The leading man is Franchot Tone who has been gifted one of his best roles and although vocally he just about gets away with being an Anglo-Saxon his talent and aristocratic demeanor carry him through.
As the beastly Germans we have the marvellous Peter van Eyck, a protégé of Mr. Wilder and what can one say of the inimitable Erich von Stroheim as Field-Marshal Erwin Rommel? In light of what we now know of Rommel the casting of this actor is bizarre to say the least but very much in keeping with the Hollywood of the time. His presence is undeniable and his portrayal is not only reminiscent of his character in 'Foolish Wives' of 1922 but also a counterpoint to his humane Captain in 'La Grande Illusion' from 1937.
The performance which attracted the most attention was that of Anne Baxter as Mouche. On loan here from 20th Century Fox she has seldom been as alluring and her transformation from flirtatious chambermaid to defiant patriot is stunning.
Apart from the opening and finale the action takes place mainly within the confines of the ramshackle 'Empress of Britain' which gives cinematographer John F. Seitz ample scope in this, his first of four collaborations with Mr. Wilder, for unusual camera angles and atmospheric chiaroscuro lighting. The 'minimalist' editing is crucial and throughout their long association Mr. Wilder acknowledged his debt to editor Doane Harrison.
Critics at the time referred to this as an 'apprentice piece' but it would not be long of course before its director became a master.