I like the storyline of this show,it attract me so much

Nice effects though.

i must have seen a different film!!

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The middle of this movie, when Werner returns to England, is almost perfect movie-making. He brought a lot of soul to his role, and so did all of the other German characters. I thought it made a very vivid statement about what it was like in Germany in the waning days of the war.On the other hand, I thought the Americans were fairly silly. Square-jawed, baritoned, striding purposefully from place to place, always knowing exactly what needs to be done, the War-Winning Heroes in every way. They speak to Happy in an annoyingly condescending way, as if they are going to explain to him what war is all about. It rang false to me. Going by the other reviews here, I'm in a minority in this view.So I can do without those parts of the movie. Also the very end, when an American swims away under a hail of short-range gunfire and is miraculously untouched.But the depiction of Happy in Germany, and the conflicts he faces as he spies on his own country, was memorable.

On one hand, I could sum up the film in a few words of praise. Or I could write an entire book on it. It's that deep, and full of all the elements that make a film great.It's just hard to find a place between the two to write a brief review. I'll try by using a few examples.First, the story. It's about recruiting and using German prisoners to spy on Germany during World War II. This is before the "information age", a day when telephone calls were the quickest source of information. The Allies want to learn where certain German units will be.We get the essence of troops always being in movement many times.In fact, the film does an excellent job of showing much about the war, the bleakness, the chaos, the police state, the need to suppress caring too much.While I don't cotton much to story board artists being along to dictate the story, here our director and actors are perfect craftsmen, who use the storyboard to perfection, letting the images do much of the talking.While the story is narrated by Basehart, it is Werner who is the feature player. While all the characters are expertly handled, four men and two women are obviously the dramatic focus.The two women include a German woman who meets Werner while he is spying, and has lived through traumatic experiences. She demonstrates her emotions loudly. The other woman is a gorgeous babe who helps train Werner, and who reluctantly agrees he is a good choice to use in the upcoming mission. Her emotions are bottled, to the moment he leaves for the mission. It is a great scene where she is the one who gives him the supplies he will need for his dangerous quest.The four men are handled in what we see work very well as a military drama. Two men in charge, and two underlings. Of the two in charge, Merrill is the most sympathetic. He becomes a perfect symbol for "symbolism", for the world of intrigue and spying, in a clever use of unlit cigarettes, striking the pose accepted by all Americans for military coolness and strength, yet never having the cigarette lit. "you know I don't smoke" he says. This becomes the symbol for the very unit he operates.Basehart is the cynical one. While Merrill believes the honest Werner character makes the better spy, Basehart, for some reason, thinks he can trust a liar more. The Basehart character has a lot to learn, and he does learn.The characters are as three dimensional as they come. Based on a true story, it has the look and feel of staying very close to the truth. It is a sad story, and we know how it will end, but the efforts of our heroes are full of the pathos and wonder that one only sees in other fact based films like "The Bridges at Toko Ri" or ones from naturally gifted writers with first hand knowledge. In fact, the pathos is quite similar to Toko Ri.One thing baffles me. Why is this film not listed in more top 250 lists? I don't think it's capable of getting a "bad review", and any low rating would have to be looked at with bewilderment. This is the exact sort of film that movie makers strive to achieve.

Caught this one on FMC the other day. You don't hear much about this picture - I think I have seen it listed before but never paid much attention - but I would have to say it is one of the best World War II films ever made. It is extremely authentic with actual location shots from the war; lots of burned and bombed out buildings in and around Munich give it a very realistic flavor.The cast is uniformly good and without a weak link to be found, with Oskar Werner its main protagonist. Special mention should be made of Hildegarde Neff who has a brief but heartrending turn as a bar girl with the proverbial heart of gold.Director Anatole Litvak caught the flavor and prevailing atmosphere of a Germany in which civilians and military personnel were beginning to read the handwriting on the wall and realizing they were on the verge of losing, and the overriding feel of the movie is Realism with a capital R. It does go on a while before anything happens and is slightly long at 119 minutes but if you enjoy a good war picture this one is better than you might expect.

Near the end of WWII, the US Army gets German POWs to spy against their own country. Filmed on location in Europe, this is a solidly made drama under the capable direction of Litvak, his follow-up to "The Snake Pit." It features fine acting by Werner as a German prisoner and Basehart and Merrill as American officers. However, the script is a letdown. After an extended exposition where the Americans hatch the plan to use the German POWs for espionage, much of the middle part of the film is devoted to Werner carrying out his mission in Germany. None of it is very interesting, although it has an exciting finish. Given the lackluster script, the film becomes a drag.