Errol Flynn always wanted to prove that he was a dramatic actor of range, not an athletic non-entity who was always demonstrating his abilities as a horseman, a fighter, or a swordsman. That his best adventure films did show him as more than just an acrobat he barely understood. He wanted to play normal types. But normal types look more like Walter Matthau or Paul Muni or Allan Jenkins - they are not the strikingly handsome Flynn.
In 1944 Flynn did this film which was a war picture but not like DIVE BOMBER or OBJECTIVE: BURMA. The film was about a French criminal who had committed a murder and was tried and convicted for that homicide. He is able to escape the guillotine when a bomb hits the prison just as the execution is about to occur. He flees, and manages to get into the countryside. Pursuing him is Paul Lucas, the French police inspector who arrested him originally. Lucas finds Flynn, but at that time an act of sabotage against the Nazis occurs. When the Nazis threaten to kill 100 French hostages unless the saboteurs appear, Flynn offers Lucas a "devil's" choice: If Lucas will not act for the next few days, Flynn will surrender himself to the Nazis as the saboteur (he prefers being shot by a firing squad rather than being guillotined). Lucas has little real choice - unless he is willing to do the same thing instead of Flynn. But will Flynn keep his word or not? As Flynn meets a young girl and finds that they can flee away together, the audience wonders if he'll do the heroic thing or not.
Flynn is pretty good in this cynical part. It is obvious, once he makes the offer to Lucas, that he really planned not to go through with it. It is also true that as the moment of truth arises he gradually sees the hideous tragedy that his self-interest is likely to cause many families. The glimpse at occupied French society is also good, showing the victims and the collaborators. It is almost as good as the picture of that society in THIS LAND IS MINE.
Yet the film, produced by a company that Flynn was involved in, and selected by him, failed at the box office. The public did not quite accept a thinking man's Errol Flynn instead of the adventurous sexy star of THE SEA HAWK or GENTLEMAN JIM. It set back further attempts by Flynn to find straight dramatic parts. It also verified that Jack Warner, Flynn's studio boss, was a really smart man in knowing what the public liked or did not like for their stars.
In 1944 Flynn did this film which was a war picture but not like DIVE BOMBER or OBJECTIVE: BURMA. The film was about a French criminal who had committed a murder and was tried and convicted for that homicide. He is able to escape the guillotine when a bomb hits the prison just as the execution is about to occur. He flees, and manages to get into the countryside. Pursuing him is Paul Lucas, the French police inspector who arrested him originally. Lucas finds Flynn, but at that time an act of sabotage against the Nazis occurs. When the Nazis threaten to kill 100 French hostages unless the saboteurs appear, Flynn offers Lucas a "devil's" choice: If Lucas will not act for the next few days, Flynn will surrender himself to the Nazis as the saboteur (he prefers being shot by a firing squad rather than being guillotined). Lucas has little real choice - unless he is willing to do the same thing instead of Flynn. But will Flynn keep his word or not? As Flynn meets a young girl and finds that they can flee away together, the audience wonders if he'll do the heroic thing or not.
Flynn is pretty good in this cynical part. It is obvious, once he makes the offer to Lucas, that he really planned not to go through with it. It is also true that as the moment of truth arises he gradually sees the hideous tragedy that his self-interest is likely to cause many families. The glimpse at occupied French society is also good, showing the victims and the collaborators. It is almost as good as the picture of that society in THIS LAND IS MINE.
Yet the film, produced by a company that Flynn was involved in, and selected by him, failed at the box office. The public did not quite accept a thinking man's Errol Flynn instead of the adventurous sexy star of THE SEA HAWK or GENTLEMAN JIM. It set back further attempts by Flynn to find straight dramatic parts. It also verified that Jack Warner, Flynn's studio boss, was a really smart man in knowing what the public liked or did not like for their stars.