Stalag 17 (1953)

Director Billy Wilder was certainly no stranger to the horrors of World War Two. He was born in Austria-Hungary {now Poland} in 1906, but moved to Berlin to begin a career in movies. However, following the rise of Adolf Hitler, Wilder – being Jewish – fled for Paris and then the United States. His mother, grandmother and stepfather died at the Auschwitz concentration camp. As such, I think it'd be safe to presume that Wilder housed a considerable hatred towards Nazis, which makes his POW-picture, 'Stalag 17 (1953),' all the more remarkable. Whereas the film might have developed into a bleak, depressing drama, the screenplay by Wilder and Edwin Blum {adapted from a play by Donald Bevan and Edmund Trzcinski} effortlessly blends drama and comedy, clearing the path for other similarly-themed war-time films {David Lean's 'The Bridge on the River Kwai (1957)' and John Sturges' 'The Great Escape (1963)'} and even TV series {'Hogan's Heroes (1965-1971)' clearly used Wilder's film as a template – including an identical Sgt. Schulz – despite a failed court case in which producers sued for infringement}.

The year is 1944, in the week before Christmas. Stalag 17, a Nazi prisoner-of-war camp, is situated somewhere along the Danube River, and hundreds of captured Allied sergeants have been imprisoned there. The Americans of Barrack 4 endure a dull, deprived lifestyle, with each day consisting of unwholesome meals, tedious labour and uncomfortable living conditions. Displaying that typical American cleverness and resourcefulness, many of the prisoners have banded together to ensure themselves a few added luxuries – such a makeshift radio to listen to the latest war news – and to build an effective escape tunnel beneath the camp. However, it soon becomes apparent that there is a Nazi spy within their midst. After two escaping prisoners are immediately shot down, and their escape passage is inexplicably discovered, the men turn their suspicions towards J.J. Sefton (William Holden), a selfish and arrogant prisoner with a dog-eat-dog mentality that sees him openly bribing the German guards for luxuries. An unsympathetic character, one who nonetheless exhibits a certain streak of integrity, Sefton decides to uncover the true traitor of Barrack 4.

Though he was reluctant to play such an unlikable character, Holden won the Best Actor Oscar for his powerful performance {via the second-shortest acceptance speech in Academy Awards history – a simple "thank you"}. The other actors in the film also create distinct and likable personalities, and I particularly enjoyed the big, oafish Animal (Robert Strauss) and Shapiro (Harvey Lembeck). Goodness knows what compelled the writers to make Sgt. Schulz (Sig Ruman), a loathsome tyrant in any other film, a jolly and hearty buffoon, but it works absolutely perfectly, his character's incompetence best highlighted in the sequence where he is distracted into playing volleyball, and enjoys the game so much that he hands his loaded weapon to the nearest POW. As Sefton attempts to uncover which fellow prisoner is leaving secret messages for their Nazis captors, Wilder intersperses the drama with an episodic flow of comedic situations, placing particularly emphasis on the means by which prisoners will alleviate their desire for the opposite sex. A hilarious sequence sees the drunken Animal mistaking his dressed-up bunk-mate for the cinema beauty Betty Grable, of whom he has an undying obsession.

Fmovies: I'm a woman younger than 30.

Saw it for the first time in 2005- knew nothing about the director or the actors- and I couldn't turn away because I needed to know the answer to the mystery. The acting is superb, the dialogue quick, the plot unexpected. The film seems fresh and subtle compared to Hollywood films of now. Perhaps this is because the special effects are simple; the emphasis is on dialogue. We also watch for clues in the changing surroundings and the characters in the shadows.

I held my breath for the last few minutes. Even after the movie had ended, I wondered "What will happen now? Will the guards burst into the barrack? What will happen the next morning?" The last seconds of the film are peaceful, but the whistling at the end seems too hopeful...surely something will go still wrong!

In defense of this great film "Stalag 17", I would like to say a few things. First of all, William Holden's performance in this film gives this film a very big lead against many other films like it. Holden is a very good actor given a very good role here as Sefton, a soldier that uniquely accepts his situation. The other supporting, and even prominent roles are good but seems "intentionally" underdeveloped for the benefit of not complicating viewers with unnecessary information. The story, consisting of a "whodunit" plot, wartime ordeals, and amusing dialogue between the characters is superb for it's time. All in all, watching "Stalag 17" is at least a fine way to spend your time.

I've read many reviews that say that they were disappointed with this film. Some were annoyed because it wasn't as realistically gritty and tense like "Saving Private Ryan". Well, that's the effect of the Hays Offices (censorship officials of American produced movies during the past). I have to say that although it may have lacked the grittiness of Spielberg's film, it still surpasses "Saving Private Ryan" for it's honest approach to it's characters such as the POW that responds to his wife's letter ("I believe it.") with a certain kind of feeling that can truly be described as honest and the German "Wake up caller" Scherbach's constant joking around with POWs while remaining true to his kommandant's wishes. The 'Animal' and Shapiro characters were obviously created for comic relief but it should only be taken as that, comic relief (Hell, everyone's a comedian and at least they tried). Most anybody that was disappointed with this film were probably disappointed for it's strange association with the TV show "Hogan's Heroes". I must say that I don't care much for that certain show but I do like this film.

I really don't think that any film should ever be compared with another film or a TV show (unless it's a spinoff, then they're just asking for it) no matter how related they are. A movie is a movie on it's own and never with the help of another, no matter the similarities. This is a classic film, worthy of it's praise yet unworthy of it's negative critique. Nobody should let personal opinions be considered flaws. Just watch it, when you have the chance, with an open mind.

Stalag 17 fmovies. Billy Wilder's Stalag 17 relies on folds of comedy and a cynical attitude to elevate a story that seems out of a crime novel. Here we have a cast of characters, and the undercurrent is 'who's the rat?' in a bunker as the secrets shuffled around (i.e. that there's a tunnel for escape) and the Germans know right away. There's fun in that, and in being able to 2nd guess who the informant really is- at one point I thought the old adage "it's the quiet ones you got to watch" would come forward- but Wilder is brilliant at transforming this as some solid suspense and dramatic tension while ALSO making a really snappy (sometimes) dark comedy. It's a movie about personality, despite the plot being somewhat important, and with the actors themselves delivering a lot for the characters' sakes.

William Holden is the first given attribute as the star, playing the sort who, for a conventional movie-goer audience, seems easy to peg: too full of himself, sneaky, has the motive to be the informant. But as the layers come into focus, he's more than meets the eye, and Holden (against his better instincts, as he didn't want the role originally) fills it in with his subtle swagger and great sarcastic touch carried over from Sunset Blvd. Then there's Otto Premminger, a big surprise as he is mostly known as a director, as the Commandant, taking up and stealing every scene he's in (only Erich von Stroheim in Grand Illusion beats him out as tour-de-force Commandants). Then there's supporting work from the desperate 'clowns' (Robert Strauss's Betty Grable obsessed Animal and Harvey Lembeck's Shapiro), and the cool Don Talyer in a turn as Dunbar. They're all at their best.

While it almost appears to be more entertaining than it perhaps should- considering, as Cookie's opening narration says, movies about the army have been glamorized and this story is different- it's kind of like the Hollywood 50s answer to something like A Man Escaped. Bresson's film is cold and detached and immediate in dramatic impact, while Stalag 17 wants to be a big hit. There's a lot of humor, some unexpected, some that are meant to be big laughs (i.e. Animal and Shapiro's scheme to get into the Russian prison), and they all connect. It's simply a really entertaining movie that has transcended its period, thanks to Wilder's faith in (and more than likely proponent of) an ironic, witty sensibility to otherwise dark and gloomy cinematic terrain.

This absorbing and very entertaining movie creates a believable and interesting cast of characters, puts them into an intriguing story, and uses its settings, props, and other resources very creatively. It is a fine combination of drama and comic relief that stands up very well against anything else of its type. The setting and atmosphere are quite believable, and they make it easy to enter the characters' world.

The opening sequence sets up everything nicely, with most of POW's helping two of the prisoners in an escape attempt, while William Holden as the cynical Sefton separates himself from the rest. Sefton is interesting enough as it is, a man who simply by remaining true to his nature cannot help arousing suspicion and antagonism, and Holden was quite a good choice to play him. The story builds up nicely, with developments coming at a careful pace, and some good stretches of lighter material.

There are numerous interesting characters and good performances among the other prisoners, and in particular Robert Strauss and Harvey Lembeck steal more than one scene with their antics which, though goofy, are also an appropriate complement to the main plot and the setting. The German characters are more stylized, but both Sig Ruman and Otto Preminger make them come to life, and help them fit in seamlessly with the others.

Billy Wilder's direction and the photography also deserve praise. Besides the way that each sequence fits together so nicely with the others, there are several individual scenes and shots that are done in an impressive fashion - not flashy, but creative and thoughtful. The scene with Holden lying on his cot while most of the others sing and celebrate is one particularly good example. There is a wealth of good material throughout, making "Stalag 17" a classic that has lost nothing over the years, and one that can be seen and enjoyed several times.

This is one of Billy Wilder's best films and still stands up very well today. Unlike the concentration camps of the Holocaust, prison camps for Allied prisoners were actually not all that bad in comparison (except for how the Russian prisoners were treated--they were often just shot). So, the prisoners enjoyed a little more freedom and were constantly trying to deal with the incredible boredom of being locked up with very little to do. As a result, films about these camps (such as this one and THE GREAT ESCAPE) are few and far between--they would just be too dull to merit a movie. However, in the case of this film, the monotony is disrupted because there apparently is a snitch within the prisoners' ranks--some rat is tipping off the Commandant (director Otto Preminger--in one of his few acting roles) about escape attempts, major rule infractions and who the actual perpetrator of a major act of sabotage was.

Naturally, prisoners begin to think that William Holden is the snitch. After all, he is living incredibly well compared to all the other Allied prisoners in the camp due to all his money-making schemes and black market activities. In addition, he is so cynical and apparently unpatriotic that he has no desire to escape--he's more than willing to sit tight until the war is over since he is safe and happy! In this role, Holden's character is VERY similar to the one he played in BRIDGE OVER THE RIVER KWAI--where he is also a schemer and mostly focused on saving his own sorry butt! However, the problem of the snitch isn't so simply solved and much of the film is about how Holden proves he was NOT the spy for the Germans.

The movie is odd in that it is a combination of both drama and comedy--with alternating moods throughout the film. Some of the ways the bored prisoners create their own fun are incredibly funny (especially the "MEIN KAMPF" scene) and some of the moments are poignant and exciting (such as the escape at the end of the film). All this comes together wonderfully in the marvelous ending of the film. The movie features exceptional acting, writing and direction and is one of the best WWII films ever made. See it--it's well worth your time.