Night Train


1h 30m 1940
Night Train

Brief Synopsis

A British agent masquerades as a Nazi officer to protect an inventor and his daughter.

Film Details

Also Known As
Crooks Tour, Gestapo, In Disguise, Night Train to Munich
Genre
Thriller
War
Spy
Release Date
Oct 18, 1940
Premiere Information
London opening: May 1940
Production Company
Twentieth Century Productions
Distribution Company
Twentieth Century-Fox Film Corp.
Country
Great Britain and United States
Location
London, England, Great Britain

Technical Specs

Duration
1h 30m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
8,378ft (10 reels)

Synopsis

The Nazis invade Prague in 1939, and inventor Axel Bomasch, who is developing armor plating that is essential for Allied defense, attempts to flee to England with his daughter Anna. Anna is captured, however, and taken to a concentration camp, where her captors interrogate her about Bomasch's location. She refuses to divulge what little information she has and soon becomes friends with Karl Marsen, a teacher imprisoned for his anti-Nazi views. Karl helps her escape, and together they make the dangerous journey to London, where Karl contacts his friend, Dr. John Fredericks. Karl and Fredericks speak in private, and it is revealed that Karl is a Gestapo agent who has gained Anna's confidence in order to follow her as she searches for her father. Karl advises her to place a newspaper ad in the personals section, telling her father that she is in England, and soon she receives a mysterious phone call instructing her to go to Brightbourne to meet a man named Gus Bennett. Anna does not reveal her destination to Karl, but she is followed, nonetheless, as she meets Gus, a brash English intelligence officer disguised as a seaside singer. Anna is reunited with her father, who is now working at Dartland Naval base, but she soon grows weary of the restrictions Gus places on her freedom to protect her father. The two quarrel over Karl, whom Anna wishes to contact but Gus suspects, and Gus's fears are realized when Karl arranges the kidnapping of the Bomaschs. Anna is heartbroken upon learning Karl's true identity and outraged when he threatens to put her in a camp if Bomasch does not work for the Nazis. Meanwhile, Gus has infiltrated the German high command by posing as Major Ulrich Herzog, an engineer. Gus intimates to Captain Prada, the controller, and Admiral Hassinger that he had a love affair with Anna four years earlier and can therefore persuade her to effect Bomasch's cooperation. Karl is jealous when Gus arranges to spend the night with Anna in a hotel, and he foils Gus's plans for escape the next morning by insisting on escorting them on the train to Munich. At the train station, an Englishman named Caldicott, who is leaving Germany with his friend Charters, recognizes Gus as Dickie Randall, with whom he went to school. Gus's Nazi uniform and avoidance of Caldicott makes him suspicious, especially after the train is temporarily stopped, and he and Charters overhear Karl confer with headquarters. They realize from Karl's telephone call that Gus is an undercover agent who is in grave danger now that his identity has been discovered. The timid pair determine to help Gus and stowaway on the train when it leaves. Caldicott and Charters inform Gus of the danger and agree to help him. When the train reaches Munich, Charters and Caldicott aid Gus in tieing up Karl and two guards, and they all escape in a car. They are pursued by Karl and his men to the Swiss border, where Gus holds off the soldiers as Anna and the others escape on an aerial tram. After wounding Karl in the leg, Gus makes a dangerous mid-air leap to the tram bound for Switzerland. He and Anna then finally acknowledge their feelings for one another with an embrace.

Videos

Movie Clip

Night Train To Munich (1940) - He Played For The Gentlemen Two new characters, about an hour into the picture, Basil Radford and Naunton Wayne as Brits Charters and Caldicott are catching the Berlin to Munich train when they’re surprised to see Rex Harrison, as undercover agent Randall, posing as a Nazi, sneaking Margaret Lockwood and her father out of Germany, watched by suspicious Paul Henreid, with a not-too obscure cricket reference, in Carol Reed’s Night Train To Munich, 1940.
Night Train To Munich (1940) - So Did Napoleon By way of introducing the Times of London, with a reference to the German foreign minister, Czech refugee Anna (Margaret Lockwood) has been advised by her rescuer Karl (Paul Henreid), not realizing HE’s an undercover Nazi spy, to place an ad, in hopes she’ll lead him to her fugitive scientist father, but she trusts Roland Culver, the British intelligence man on the phone, another wrinkle, in Night Train To Munich, 1940.
Night Train To Munich (1940) - Only Love Can Lead The Way In his first scene, Rex Harrison poses as singer Gus, practicing tradecraft as he initially rebuffs Czech refugee Anna (Margaret Lockwood), who got mysterious instructions to come to coastal Brightbourne (modeled on Brighton), in search of her exiled scientist father, not aware the Nazis are watching her (!), in Carol Reed’s Night Train To Munich, 1940.
Night Train To Munich (1940) - I'm Suffering From An Eye Strain Substantial plot twist, to infuriate any viewer who was liking Paul Henreid as Karl Marsen, Czech concentration camp escapee who, now in London, reveals himself to be a Nazi mole, visiting an opthalmologist (Felix Aylmer) who, after a clever bit with an eye chart, does exposition, in Night Train To Munich, 1940, from director Carol Reed and producer Alexander Korda.
Stranger, The (1946) - There Is No Franz Kindler! Director and star Orson Welles opens introducing Edward G. Robinson as Nazi hunter Wilson, in Vienna, demanding the release of low-value prisoner Meinke (Konstantin Shayne), in hopes he’ll lead him to a major fugitive, quickly to South America where Lillian Molieri assists, John Brown the photographer, in The Stranger, 1946, also starring Loretta Young.
Night Train To Munich (1940) - We Shall Be Invaded After a prologue on various Nazi invasions of 1939, with Hitler in newsreels, then indirectly portrayed, we meet James Harcourt as Czech scientist Bomasch, with chiefs of his military industry employer, who winds up calling his daughter, top-billed Margaret Lockwood, in Alexander Korda and Carol Reed’s Night Train To Munich, 1940.
Night Train To Munich (1940) - Nature Endowed Me With A Gift Rex Harrison, whom we now know to be a British intelligence man posing as a seaside singer, intercepts a letter sent by Anna (Margaret Lockwood), testy daughter of the Czech fugitive scientist he’s minding, which we also know was addressed to a Nazi agent who’s got people watching her Carol Reed’s Night Train To Munich, 1940.
Night Train To Munich (1940) - Insolence Does Not Pay Daughter of an exiled Czech scientist, now conscripted by the Nazi occupiers as a prison nurse, Margaret Lockwood (as Anna) observes as a snarling doctor (John Wengraf) examines Paul (von) Henreid, as inmate Marsen, who seems a lot like Victor Laszlo, his first scene, in director Carol Reed’s Night Train To Munich 1940.

Hosted Intro

Film Details

Also Known As
Crooks Tour, Gestapo, In Disguise, Night Train to Munich
Genre
Thriller
War
Spy
Release Date
Oct 18, 1940
Premiere Information
London opening: May 1940
Production Company
Twentieth Century Productions
Distribution Company
Twentieth Century-Fox Film Corp.
Country
Great Britain and United States
Location
London, England, Great Britain

Technical Specs

Duration
1h 30m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
8,378ft (10 reels)

Award Nominations

Best Writing, Screenplay

1942

Articles

Night Train to Munich - Carol Reed's 1940 Espionage Thriller NIGHT TRAIN TO MUNICH on DVD


Alfred Hitchcock's successful series of 1930s spy chase thrillers -- The Man Who Knew Too Much; The 39 Steps -- came to an abrupt end when he departed for the greener pastures of Hollywood. But some of England's most creative writers and directors were already taking up the slack. As war broke out on the continent Michael Powell and Emeric Pressburger contributed the interesting espionage intrigues The Spy in Black and Contraband. Sidney Gilliat and Frank Launder, the screenwriting team behind Hitchcock's superb The Lady Vanishes, followed up with the exciting, spirited wartime thriller Night Train to Munich, directed by the talented Carol Reed.

Produced before England entered the war, The Lady Vanishes was obliged to cloak its German villains as agents of a fictitious European nation. Night Train to Munich calls the Nazi aggressors by their name. Clearly intended to reprise the winning chemistry of Hitchcock's hit, the feel-good espionage yarn brings back Margaret Lockwood to serve as its nominal star and the comedy team of Basil Radford and Naughton Wayne to revisit their popular roles as the complacent cricket fans Charters and Caldicott. Gilliat and Launder's preposterous but engaging storyline takes many clever turns. While not quite the classic that is The Lady Vanishes, Night Train is a bright entertainment that surely succeeded in cheering London audiences suffering under the Blitz.

The film's story begins a couple of years earlier, just as Germany is invading Czechoslovakia. Margaret Lockwood is Anna Bomasch, the daughter of an important Czech scientist. He flees to England but Anna is captured and locked away in a concentration camp. She escapes with the help of fellow patriot Karl Marsen (Paul von Hernreid, a.k.a. Paul Henried of Casablanca fame) and is happily reunited with her father in England. British agent Gus Bennett (a young, roguish Rex Harrison) specializes in false identities. He masquerades as a pleasure pier singer while safeguarding the Czech refugees, only to find both of them snatched back to the Reich from under his very nose. Officially withdrawn from active duty, Bennett parachutes into Germany, disguises himself as a high-ranking Nazi and bluffs his way through military security. Attaching himself to the Bomasch case by pretending to be Anna's lover, Bennett must accompany the father and daughter on an overnight train trip to Gestapo headquarters in Munich. A pair of fussy English travelers Charters and Caldicott (Radford & Wayne), incensed at the "bad manners" of the Germans, deduce that Bennett is really an English spy and tip him to the fact that he's about to be arrested. With the help of these two new allies, Bennett improvises a desperate plan to spirit Anna and her father across the border to neutral Switzerland.

Night Train to Munich moves so quickly that it elides most of Anna and Karl's perilous flight to England. After barely a few hours to prepare, Bennett simply shows up in Berlin in full Nazi regalia, including an ostentatious monocle. Armed with only a letter of introduction and a glib tongue, he's able to penetrate a high security Nazi establishment as if he belonged there. Of course, Rex Harrison's charm makes all these shenanigans possible. It also helps that the Nazis behave like bureaucratic functionaries, too impressed by his manner to check his credentials. Gilliat & Launder's story begins with a montage of Nazi aggression and a prologue in a bleak concentration camp, but the tone lightens when Harrison's dashing Bennett begins making fools of the treacherous Nazis.

On the surface this is an escapist fantasy, the kind in which the hero and heroine must pretend to be lovers and spend a provocative night together in a hotel room. Despite its almost comedic tone, the story maintains a constant level of tension. Gus Bennett's spy mission is an off-the-books desperation ploy to save the day and his own reputation. He's a man alone surviving on his wits and charm. Rex Harrison is an interesting proto-James Bond, a supremely confident and cool-headed chameleon whose personality carries a streak of sexual cruelty. Margaret Lockwood gets top billing but the role isn't half as interesting as her holiday traveler in The Lady Vanishes. For a character that spends the entire movie being kidnapped or escaping, Anna Bomasch hasn't much to do except look beautiful and fret.

The movie becomes even more fun when the hilarious deadpan comics Radford and Wayne enter the picture. Their Charters and Caldicott are still cricket fans puzzled by the fact that Berlin newsstands don't carry the latest issue of Punch. They maintain English formalities at all times, and can't understand why their English passports don't protect them from petty inconveniences. An hilariously pushy German Station Master (Irene Handl) rudely hustles them about the train platform. War between Germany and England is about to break out, but they're more concerned that they're losing their sitting compartment to last-minute military travelers. Charters and Caldicott are initially inclined to mind their own business when it looks as if Gus Bennett will be arrested, but undergo a change of heart after one too many German insults. Not long afterward they've donned German uniforms and are helping Gus with his wild scheme to hoodwink the enemy on his own turf.

Carol Reed keeps the script's humor front and center. We're too busy listening for the next joke to be concerned that Night Train has some of the most un-German Nazis ever. Many don't even affect accents. Perhaps the exaggerated heel-clicking degenerate stereotypes hadn't yet been established. Felix Aylmer is a deep cover Nazi in England, masquerading as an optometrist, and Frederick Valk of Dead of Night, here billed as Fritz Valk, makes a convincing Gestapo villain for the mountain car chase to Switzerland.

For the finale director Reed concocts an exciting gun battle on an aerial tram that conveniently crosses the border to Switzerland. Even Alfred Hitchcock would be daunted by the implausibilities in this scene, as the Germans have left the obvious escape route almost completely unguarded. Harrison is seen to fire at least 25 shots from his pistol without reloading. He then makes a highly unlikely mid-air leap from one tramcar to the next. Although filmed on fairly artificial studio-bound sets, with an over-use of barely convincing miniatures, Carol Reed's superior direction maintains a high degree of suspense.

The movie ends with a title card asking viewers not to spoil the film's surprises for other viewers. Paul Henreid's clever character returns to the story in a capacity that won't be revealed here. Henreid becomes a conflicted romantic rival for the attention of Lockwood's lady in distress, and director Carol Reed sees to it that he remains a somewhat sympathetic character. As most viewers will associate Paul Henreid with his highly romantic American roles (Now, Voyager), watching him suffer as Rex Harrison gets the girl creates an odd sense of injustice. Carol Reed would generate the same unease a few years later with matinee idol Joseph Cotton, in his masterpiece The Third Man.

With its witty repartee and the patriotic derring-do, Night Train to Munich was one of the most popular English films made during the war. Its Alpine conclusion was surely an inspiration for the wild spy mission movie Where Eagles Dare, 28 years later.

Criterion's DVD of Night Train to Munich is a welcome break from the distributors' more prestigious art film classics. The wartime morale-builder was produced by 20th Century Fox, which later shortened the title to Night Train for American audiences. The fine B&W transfer has been cleaned up to full Criterion standards, and the audio track is free of distortion.

The extras are limited to an informative insert pamphlet essay by Philip Kemp and a video essay by Peter Evans and Bruce Babington, who discuss the Gilliat & Launder writing team and the interesting wartime circumstances surrounding the filming.

For more information about Night Train to Munich, visit The Criterion Collection. To order Night Train to Munich, go to TCM Shopping.

by Glenn Erickson
Night Train To Munich - Carol Reed's 1940 Espionage Thriller Night Train To Munich On Dvd

Night Train to Munich - Carol Reed's 1940 Espionage Thriller NIGHT TRAIN TO MUNICH on DVD

Alfred Hitchcock's successful series of 1930s spy chase thrillers -- The Man Who Knew Too Much; The 39 Steps -- came to an abrupt end when he departed for the greener pastures of Hollywood. But some of England's most creative writers and directors were already taking up the slack. As war broke out on the continent Michael Powell and Emeric Pressburger contributed the interesting espionage intrigues The Spy in Black and Contraband. Sidney Gilliat and Frank Launder, the screenwriting team behind Hitchcock's superb The Lady Vanishes, followed up with the exciting, spirited wartime thriller Night Train to Munich, directed by the talented Carol Reed. Produced before England entered the war, The Lady Vanishes was obliged to cloak its German villains as agents of a fictitious European nation. Night Train to Munich calls the Nazi aggressors by their name. Clearly intended to reprise the winning chemistry of Hitchcock's hit, the feel-good espionage yarn brings back Margaret Lockwood to serve as its nominal star and the comedy team of Basil Radford and Naughton Wayne to revisit their popular roles as the complacent cricket fans Charters and Caldicott. Gilliat and Launder's preposterous but engaging storyline takes many clever turns. While not quite the classic that is The Lady Vanishes, Night Train is a bright entertainment that surely succeeded in cheering London audiences suffering under the Blitz. The film's story begins a couple of years earlier, just as Germany is invading Czechoslovakia. Margaret Lockwood is Anna Bomasch, the daughter of an important Czech scientist. He flees to England but Anna is captured and locked away in a concentration camp. She escapes with the help of fellow patriot Karl Marsen (Paul von Hernreid, a.k.a. Paul Henried of Casablanca fame) and is happily reunited with her father in England. British agent Gus Bennett (a young, roguish Rex Harrison) specializes in false identities. He masquerades as a pleasure pier singer while safeguarding the Czech refugees, only to find both of them snatched back to the Reich from under his very nose. Officially withdrawn from active duty, Bennett parachutes into Germany, disguises himself as a high-ranking Nazi and bluffs his way through military security. Attaching himself to the Bomasch case by pretending to be Anna's lover, Bennett must accompany the father and daughter on an overnight train trip to Gestapo headquarters in Munich. A pair of fussy English travelers Charters and Caldicott (Radford & Wayne), incensed at the "bad manners" of the Germans, deduce that Bennett is really an English spy and tip him to the fact that he's about to be arrested. With the help of these two new allies, Bennett improvises a desperate plan to spirit Anna and her father across the border to neutral Switzerland. Night Train to Munich moves so quickly that it elides most of Anna and Karl's perilous flight to England. After barely a few hours to prepare, Bennett simply shows up in Berlin in full Nazi regalia, including an ostentatious monocle. Armed with only a letter of introduction and a glib tongue, he's able to penetrate a high security Nazi establishment as if he belonged there. Of course, Rex Harrison's charm makes all these shenanigans possible. It also helps that the Nazis behave like bureaucratic functionaries, too impressed by his manner to check his credentials. Gilliat & Launder's story begins with a montage of Nazi aggression and a prologue in a bleak concentration camp, but the tone lightens when Harrison's dashing Bennett begins making fools of the treacherous Nazis. On the surface this is an escapist fantasy, the kind in which the hero and heroine must pretend to be lovers and spend a provocative night together in a hotel room. Despite its almost comedic tone, the story maintains a constant level of tension. Gus Bennett's spy mission is an off-the-books desperation ploy to save the day and his own reputation. He's a man alone surviving on his wits and charm. Rex Harrison is an interesting proto-James Bond, a supremely confident and cool-headed chameleon whose personality carries a streak of sexual cruelty. Margaret Lockwood gets top billing but the role isn't half as interesting as her holiday traveler in The Lady Vanishes. For a character that spends the entire movie being kidnapped or escaping, Anna Bomasch hasn't much to do except look beautiful and fret. The movie becomes even more fun when the hilarious deadpan comics Radford and Wayne enter the picture. Their Charters and Caldicott are still cricket fans puzzled by the fact that Berlin newsstands don't carry the latest issue of Punch. They maintain English formalities at all times, and can't understand why their English passports don't protect them from petty inconveniences. An hilariously pushy German Station Master (Irene Handl) rudely hustles them about the train platform. War between Germany and England is about to break out, but they're more concerned that they're losing their sitting compartment to last-minute military travelers. Charters and Caldicott are initially inclined to mind their own business when it looks as if Gus Bennett will be arrested, but undergo a change of heart after one too many German insults. Not long afterward they've donned German uniforms and are helping Gus with his wild scheme to hoodwink the enemy on his own turf. Carol Reed keeps the script's humor front and center. We're too busy listening for the next joke to be concerned that Night Train has some of the most un-German Nazis ever. Many don't even affect accents. Perhaps the exaggerated heel-clicking degenerate stereotypes hadn't yet been established. Felix Aylmer is a deep cover Nazi in England, masquerading as an optometrist, and Frederick Valk of Dead of Night, here billed as Fritz Valk, makes a convincing Gestapo villain for the mountain car chase to Switzerland. For the finale director Reed concocts an exciting gun battle on an aerial tram that conveniently crosses the border to Switzerland. Even Alfred Hitchcock would be daunted by the implausibilities in this scene, as the Germans have left the obvious escape route almost completely unguarded. Harrison is seen to fire at least 25 shots from his pistol without reloading. He then makes a highly unlikely mid-air leap from one tramcar to the next. Although filmed on fairly artificial studio-bound sets, with an over-use of barely convincing miniatures, Carol Reed's superior direction maintains a high degree of suspense. The movie ends with a title card asking viewers not to spoil the film's surprises for other viewers. Paul Henreid's clever character returns to the story in a capacity that won't be revealed here. Henreid becomes a conflicted romantic rival for the attention of Lockwood's lady in distress, and director Carol Reed sees to it that he remains a somewhat sympathetic character. As most viewers will associate Paul Henreid with his highly romantic American roles (Now, Voyager), watching him suffer as Rex Harrison gets the girl creates an odd sense of injustice. Carol Reed would generate the same unease a few years later with matinee idol Joseph Cotton, in his masterpiece The Third Man. With its witty repartee and the patriotic derring-do, Night Train to Munich was one of the most popular English films made during the war. Its Alpine conclusion was surely an inspiration for the wild spy mission movie Where Eagles Dare, 28 years later. Criterion's DVD of Night Train to Munich is a welcome break from the distributors' more prestigious art film classics. The wartime morale-builder was produced by 20th Century Fox, which later shortened the title to Night Train for American audiences. The fine B&W transfer has been cleaned up to full Criterion standards, and the audio track is free of distortion. The extras are limited to an informative insert pamphlet essay by Philip Kemp and a video essay by Peter Evans and Bruce Babington, who discuss the Gilliat & Launder writing team and the interesting wartime circumstances surrounding the filming. For more information about Night Train to Munich, visit The Criterion Collection. To order Night Train to Munich, go to TCM Shopping. by Glenn Erickson

Quotes

I bought a copy of Mein Kampf. Occurred to me it might shed a spot of light on all this... how d'ye do. Ever read it?
- Chaters
Never had the time.
- Caldicott
I understand they give a copy to all the bridal couples over here.
- Chaters
Oh, I don't think it's that sort of book, old man.
- Caldicott

Trivia

Charters and Caldicott are characters who also appeared in Lady Vanishes, The (1938), also written by Sidney Gilliat and Frank Launder.

Notes

This film was released in Great Britain as Gestapo and then as Night Train to Munich. The Fox trade advertising billing sheet lists In Disguise as another alternate title, and a letter contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Theater Arts Library states that the picture was also known as Crooks Tour. The title of Gordon Wellesley's original story was "Report on a Fugitive." Although there is a copyright statement on the film's title card, it is not listed in the copyright register. This picture, produced by Twentieth Century Productions for Twentieth Century-Fox, was distributed in the United Kingdom by M-G-M to fulfill quota requirements. The Motion Picture Herald review, dated June 8, 1940, praised the film's topicality; the London trade showing occurred just after the evacuation of British soldiers from Dunkirk and the fall of France to Germany. Noting that the film exploited "the spirit and events of the day before yesterday," the reviewer stated: "Shown to a trade show audience the film went down as well as any motion picture might be expected to do with war a hundred and fifty miles away." Gordon Wellesley received an Academy Award nomination in the Writing (Original Story) category for his work on the film.
       Many reviewers commented on the similarities between Night Train and The Lady Vanishes, a 1938 Gaumont-British Gainsborough production directed by Alfred Hitchcock, which was also written by Sydney Gilliat and Frank Launder. It starred Margaret Lockwood and also featured Basil Radford and Naunton Wayne as "Charters" and "Caldicott." Radford and Wayne played very similar characters in the 1945 Ealing Studios film Dead of Night.