49th Parallel (1941)

This film, being labeled as propaganda, seems to be different from the usual fare Hollywood presented for the same purpose during the years of WWII. It takes a director like Michael Powell, working with his usual collaborator, Emeric Pressburger, to turn this movie into a riveting case against fascism. The screen play, by Mr. Pressburger and Rodney Ackland involves the viewer from the start.

Mr. Powell and his crew did wonders with their budgets. Things were done in a much modest scale in England, especially during those days of hardship as the country was already involved in the conflict. By bringing the production to Canada, Mr. Powell achieved a coup by shooting the film in locations that show the majesty of the country.

In a way, "49th Parallel" shows the difference in ideology from the stranded Nazis with the friendliness and openness of Canada. The generosity of that country in receiving, and accepting all the people in need of refuge, is also in sharp contrast with the philosophy advocated by Hitler and his ilk in Europe.

One of Mr. Powell's accomplishment with this film is to present the biggest stars of the English cinema in roles that were not what one expected from these actors to assume. Thus, we watch Leslie Howard, Lawrence Olivier, Anton Walbrook, Raymond Massey in roles that are self effacing, at best, but which leave their mark on us, the viewers. Eric Portman is the only one that is seen throughout the film, as he got the best opportunity of his career where to shine as the hateful Lt. Hans Hirth. A young Glynis Johns is seen at the rural commune.

The great cinematography of Freddie Young and the elegant editing of David Lean are hidden assets of this film. The musical score by Ralph Vaughan Williams is heard in the background.

This is a highly recommended film to realize the greatness of Michael Powell at work.