Underground (1941)

Waste of time

Redundant and unnecessary.

Good start, but then it gets ruined

Don't listen to the negative reviews

UNDERGROUND 1941This 1941 Warner Brothers production is one of the earlier films to deal with the anti-Nazi German Resistance movement. The film stars, Philip Dorn, Jeffery Lynn, Mona Maris, Kareen Verne, Peter Whitney and Martin Kosleck. This one has the old story chestnut of two brothers on opposite sides. Philip Dorn is a chemical engineer with a dangerous second job, that of a radio broadcaster for the secret German underground. He tells the German public the truth about what the Nazis are up to. Of course the Gestapo types are out to collar said underground members. The underground has to constantly be on the move after each broadcast. This is to prevent the authorities from locating the transmitter.Dorn's younger brother, Jeffery Lynn, now puts in an appearance. Lynn has just been discharged from the army after losing an arm in combat. Lynn is of course a die-hard Nazi. In the mix here is Kareen Verne, a member of the underground that Lynn takes a liking to. Dorn and Verne hide the fact that they both are part of the resistance from Lynn.The head Gestapo man is played by Martin Kosleck. Kosleck made a career out of playing various Nazi weasel types. Kosleck's secretary is played by Mona Maris. Kosleck and his bunch nearly grab up Dorn, Peter Whitney and the rest during a broadcast. They are warned by Miss Maris just in time about the raid. Maris is an underground agent who is their contact on the Gestapo staff. Kosleck tries a new ploy and releases a former resistance member, Wolfgang Zilzer. Zilzer has been beaten, tortured, and turned, he is now willing to help the Gestapo. Hoffman leads Kosleck and a Gestapo squad to a meeting place at a Berlin café. Shots are exchanged and an underground type is killed. Miss Verne, who is employed at the café as a violin player, is grabbed up in the raid. Also grabbed up is Jeffery Lynn. He tells the Gestapo that he is seeing Miss Verne and that she cannot possibly with the underground. (Which he believes) Kosleck lets her go, but only if Lynn agrees to keep tabs on her. Lynn agrees to the arrangement. The ever true blue Nazi, Lynn, is dumbstruck when he now discovers that Miss Verne is with the resistance. He does not know whether to turn her in or what. He decides to convince her to quit the underground. He gives the Gestapo info he overhears about a new broadcast location. Needless to say, he does not know that he has actually turned in his brother, Dorn. Dorn is carted off for a round of shall we say, not so gentle questioning. The brother's father, Erwin Kaiser, is also taken into custody. Both are sentenced to the chopping block. Lynn is horrified at what he has done, but tells Kosleck that it was the job of every good German to turn in traitors. He knows that he cannot save his brother and father. The Gestapo of course now trust him. They announce on the radio that the underground broadcasts have been quashed, and the traitors killed. This last statement turns out to be less than accurate as the broadcasts begin again. This time it is Lynn at the microphone.This one plays out more or less like the same years British film, FREEDOM RADIO, both of which follow the same idea. Warner Brothers must have sent out a casting call for every German actor in Hollywood. There is at least a couple dozen German born actors in various roles. Look close and you will see Hans Conried and Henry Brandon in small bits. The director here is Vincent Sherman. Sherman is best known for a string of excellent film noir such as, NORA PRENTISS, THE UNFAITHFUL, BACKFIRE, THE GARMENT JUNGLE, FLIGHT FROM DESTINY and THE DAMNED DON'T CRY. Cinematographer Sid Hickox gives the film a nice assortment of grey and black hues. Three time Oscar winning composer, Adolph Deutsch, supplies the top flight score. Martin Kosleck and Mona Maris would play pretty well the same characters in 1942's BERLIN CORRESPONDENT, with Dana Andrews.

Watching Underground makes me wish that TCM would do an anthology of great B-movies. Limited budgets imposed constraints on production values -- sound stages and back lots instead of locations, black & white instead of color, character actors in leading roles. What budgets didn't constrain was acting, directing and writing. And what's cool is that there were lots of them, especially from the studio system, where great talent was on staff.I don't think I've seen a wartime propaganda flick that pulls out all the stops quite like this one. Vile Nazis in their spiffy Nazi uniforms, sadism, torture, whips, dungeons, betrayal, sabotage, righteous rants by old professors...all here! Tight production and right casting make this a delicious grand guignol. Despite the grim theme, there are some pretty funny Hogan's Heroes moments. Example: a thuggish Gestapo underling is bragging to his secretary about a ghastly new torture method he's invented and complaining about Himmler's taking the credit. The secretary, who's in the underground, replies, barely containing her sarcasm, "Don't worry, I'm sure you'll get a promotion."And then, there's the ending, when one must face an excruciating dilemma -- to do something horrible and cruel for the greater good. It's something I don't know if I'd have the courage to do. Would you?

This top rate production from Warners Bros., tells the story of the anti-Nazi underground and its attempts to sway the German people to reject the Nazi regime and put an end to its war machine. This film is far better than many other later anti-Nazi films cranked out by Hollywood during WW2. The cast all give top rate performances. Martin Koslec is effectively slimey as the Nazi secret police leader who is out to crush the underground. After seeing him here, no wonder he made a career portraying evil Nazi leaders. Perhaps the most memorable performance is by Wolfgang Zilzer as the sad, pathetic former underground leader who becomes a traitor in exchange for release from the hellish torture he is undergoing in a Nazi concentration camp. The scene where he is confronted by underground leaders and forced to commit suicide has real power. The lighting and the music are perfect. Seen today, this film might seem a bit optimistically naive. It gives the viewer the impression the Nazi regime would soon fall from power. None the less the film effectively portrays the terror inflicted on the German people to assure obedience to its corrupt and evil regime. Note; One odd idea thrown in, is a suggestion about why Rudolph Hess fled Germany and flew into London. During one of the underground broadcasts, Philip Dorn states that Hess fled to escape the gestapo and tell the world the truth. This sounds a bit naive, since everything suggests in real life Hess was always a staunch supporter of the Nazi regime. Of course the whole Hess affair is still to this day shrouded in mystery, and we may never know the real reason why Hess flew into London. That, however is a matter of discussion for another forum.

This movie was made before the US entry into WWII. But, the story line clearly indicates the concerns we had with the Nazi party in Germany and their blatant disregard for the well being of their citizenry. There are no war scenes and only a couple of short action sequences but, despite this, the story moves at a very comfortable pace. Very good acting all around with Philip Dorn excelling as the leader of an underground group striving to keep the citizens informed as to the real aims of their Nazi leaders. He does this via a clandestine illegal radio operation which, of necessity, must continually move to various locales to transmit. Jeffrey Lynn plays Dorn's brother, a German soldier who, minus most of his left arm, returns home but is still a loyal German who is unaware of his brother's underground activities. This story is a good one and avoids most of the cliches that permeated many similar WWII movies. Martin Kosleck plays his usual role, that of an officious German officer but, even he, tones down his role and does not appear as menacing as he later became in other similar films. I enjoyed this 95 minute story and definitely recommend it to all fans of the suspense melodrama genre.