Having served in the US Army-Europe in Germany it was easy to see that this work was an accurate depiction of the world as Germans saw it in those years. Going to the IMDb database confirmed that it was filmed in Wurzberg, a city I visited many times. One can not help but wonder what memories and nightmares came back to life for the German people in this movie, or the ones who viewed it, or even witnessed the movie being made. The film is so very realistic in script, acting, and setting that some must have almost thought WWII was alive again. For those that lived through WWII in that country it must have seemed as if those days were repeating themselves. Every detail of this movie is accurate as far as I could tell. It does not employ overused stereotypes, no action heroes, no earth shaking grand and glorious finale, it simply depicts a period of time in all its' tragedy and irony in a most realistic manner. This work deserves more praise and exposure than it has received. A must see for every WWII researcher and historian.
63 Reviews
Outstanding picture, one of the best WW2 movies
BrianG4 June 2000
As American forces approach Germany near the end of World War II, it becomes crucial for them to get an idea of the Germans' capacity to resist. In order to do that, they recruit spies from among German POWs, train them and send them into Germany to gather information. This is somewhat of an unusual film about a subject that, as far as I know, had never been dealt with before or since (the movie is based on fact; American military intelligence did indeed use German POWs as spies). The location filming helps the picture greatly, as the war had only been over for a few years and Germany still hadn't rebuilt yet. Performances are universally top notch, notably Oskar Werner as a young German soldier code-named Happy who volunteers to return as a spy, and especially Hans Christian Blech as Happy's tough, opportunistic, and not entirely trustworthy partner. There are some nail-biting moments, notably aboard a train when Happy and his partner come under scrutiny by a suspicious Gestapo agent. The film has a tough, gritty, dangerous look that is totally atypical of the usual 20th Century Fox gloss, and is all the better for it. Gary Merrill as the tough American officer in charge of the operation, and Richard Basehart as an American agent sent in to accompany the two German spies, also turn in first-rate performances, and director Anatole Litvak keeps the film full of twists and surprises, but it's Oskar Werner's show, and he is up to it. An excellent film and one to put on your must-see list.
excellent, little-known movie
rupie24 July 2001
Surprisingly good war film unknown to me before I saw it on American Movie Classics. Cast is excellent. Characters are well-drawn. The film is the best portrayal I have yet seen on celluloid of Germany in its stages of final collapse as the end of WWII nears. Some very impressive interiors are beautifully shot - the cathedral that serves as intelligence hq, and the castle or chateau that is the German command hq. Engrossing story of conflicted loyalties, and good action and suspense as well. I can only add my agreement with the positive comments already entered.
Well-written, well-acted. Great "issue" film
JulieKelleher578 December 2000
A taut story, first-rate acting, and a compelling subject make this film worth seeing.
Espionage/spying is a tricky subject, but "Decision Before Dawn" handles it brilliantly. No flash, no Mata Haris, no absurd coincidences. Weaving human drama and the grim realism of war, this film is that rare gem that manages to teach without preaching.
Among the superb performances is our hero Happy, played with just the right blend of suspense and humanity by Oskar Werner. Happy (an ironic name given to him by his American overseers) is torn between love of his native land and his duty to what is right. Werner walks this tightrope better than most I've seen.
In the end, however, it's the script that is the true gem of the film. Peter Viertel is a master story teller, with such great screenplays as "Saboteur" and "The Hard Way" to his credit. Viertel, with a story by author George Howe, weaves an intricate, but not confusing, narrative of war and devotion and duty. He's one of the few _writers_ I look for when I check out "On TV This Week" on IMDB.
Espionage/spying is a tricky subject, but "Decision Before Dawn" handles it brilliantly. No flash, no Mata Haris, no absurd coincidences. Weaving human drama and the grim realism of war, this film is that rare gem that manages to teach without preaching.
Among the superb performances is our hero Happy, played with just the right blend of suspense and humanity by Oskar Werner. Happy (an ironic name given to him by his American overseers) is torn between love of his native land and his duty to what is right. Werner walks this tightrope better than most I've seen.
In the end, however, it's the script that is the true gem of the film. Peter Viertel is a master story teller, with such great screenplays as "Saboteur" and "The Hard Way" to his credit. Viertel, with a story by author George Howe, weaves an intricate, but not confusing, narrative of war and devotion and duty. He's one of the few _writers_ I look for when I check out "On TV This Week" on IMDB.
DECISION BEFORE DAWN (Anatole Litvak, 1951) ***
Bunuel19767 February 2009
Warning: Spoilers
The presence of this prestigious but obscure war/espionage movie among the Academy Award nominees for the Best Picture of 1951 where it was up against such heavyweights as A PLACE IN THE SUN, QUO VADIS and A STREETCAR NAMED DESIRE has always intrigued me. The film is certainly well-made and acted on the surface but, I suppose, what impressed most at the time was its being based on a real episode of WWII (back then a mere 6 years away), it was shot among the actual German ruins and served as an introduction to two German actors Oskar Werner and Hildegard Knef (billed here as Hildegarde Neff) who would subsequently become internationally renowned film stars; incidentally, I have just acquired two other espionage films the latter made around this time, DIPLOMATIC COURIER (1952; with Tyrone Power) and THE MAN BETWEEN (1953; co-starring James Mason). Despite being third billed (after Fox stalwarts Richard Basehart and Gary Merrill), Werner is the true protagonist of the film and he acquits himself superbly playing a meek medical soldier who, after seeing his comrade being pushed out the window to his death for passing disparaging comments on the Third Reich, decides to join the Allies by acting as their informer on the German Front; a youthful but unmistakable Klaus Kinski appears very briefly as another prospective candidate for the job. During the course of the film, Werner attracts the affection of two women a French girl (Dominique Blanchar) stationed in the monastery being used as the Allied H.Q. and a German artiste (Knef), sent by a suspicious, ultra-nationalistic German soldier he meets along the way to seduce him in his hotel room, but who eventually alerts Werner to his being watched. Merrill plays the sympathetic American superior officer while Basehart is the cynical communications official who accompanies Werner and an irascible German spy dubbed "Tiger" (Hans Christian Blech) into enemy territory. While accomplishing his mission of locating the new position of a German division that was being a thorn in the Allies' side, Werner is briefly engaged as the personal assistant of a proud German Colonel with a heart condition (a fine performance from O.E. Hasse) and ultimately gives his life for the cause on a beach after being chased around the rubble-strewn streets of Germany.
A Great Period Movie
twinthomas200331 December 2004
The movie puts you in WWII's closing days as you watch an idealistic young German Army medic become a traitor to his country by working as a spy in order to let the war end quickly and let peace return. The movie extras are former German soldiers, and you can tell by how they wear their "rag tag" uniforms and bark out commands in German. The scenes are superb. Bombed out areas of Germany were used, and one scene in a bombed out theater is especially great. You hear the falling glass and metal structures as the Gestopo search for the soldier. It is simply a very entertaining movie that lets one ponder: What would I have done if I were in his place?
Great counterspy on the run flick
DJJOEINC9 June 2007
Warning: Spoilers
Decision Before Dawn - 1951 nominee for Best Picture- this black and white flick deals with captured Nazis helping the Allies at the end of the WWII.Oskar Werner does a stellar job as "Happy" a German fed up with the Nazi cause who decides to go back to the German front to find out troop movements for the Americans.The movie is a slow starter- but the final act is one of the most capitvating and tense war time chase scenes I have viewed.Filmed on location in Germany- many of the final chase scenes benefit from the debris and buildings.The DVD has vintage newsreel footage and the theatrical trailer.Richard Basehart is the American narrator.Directed by the guy who did The Snakepit. B+
Why I give this one a "Ten"
B2425 April 2004
Occasionally I rate a film high for personal and sentimental reasons. In this case I am compelled by objective facts to add in the light of greater perspective that I consider this one of the best war movies of all time.
In the first place, the acting is superb. The casting is flawless. The direction is taut, as is the editing. It is filmed in black and white, as it would have to be even today if someone wanted to try a remake. The locations and sets are authentic to a "T." The story itself follows faithfully the text of a book I read as a child (before I saw the film, in fact).
Moreover, I consider it an act of bravery on the part of the film's producers even to begin a project like this so soon after the end of World War II, when passions against the Germans were still running high and mere caricatures of that nation's common people remained the standard for the day (and for years to come).
Oskar Werner in the main role was a brilliant choice, and veterans Richard Basehart and Gary Merrill provide ample evidence that casting proceeded on a basis of resolute excellence and authenticity. I am still blown away by revisiting the "Romantic Road" in Germany and thinking how this movie defined and continued to define for me how recent and ancient history converged along that path.
I cannot praise it enough.
In the first place, the acting is superb. The casting is flawless. The direction is taut, as is the editing. It is filmed in black and white, as it would have to be even today if someone wanted to try a remake. The locations and sets are authentic to a "T." The story itself follows faithfully the text of a book I read as a child (before I saw the film, in fact).
Moreover, I consider it an act of bravery on the part of the film's producers even to begin a project like this so soon after the end of World War II, when passions against the Germans were still running high and mere caricatures of that nation's common people remained the standard for the day (and for years to come).
Oskar Werner in the main role was a brilliant choice, and veterans Richard Basehart and Gary Merrill provide ample evidence that casting proceeded on a basis of resolute excellence and authenticity. I am still blown away by revisiting the "Romantic Road" in Germany and thinking how this movie defined and continued to define for me how recent and ancient history converged along that path.
I cannot praise it enough.
Divided Allegiances.
rmax30482323 September 2013
Warning: Spoilers
The top credits go to the two American stars. Gary Merrill is the colonel who organizes an espionage venture behind the German lines at the Rhine River. Richard Basehart is the lieutenant who leads the team, taking with him two converted German POWs -- the canny and untrustworthy Hans Christian Blech, and the innocent idealistic Oskar Werner.
But the picture belongs to Oskar Werner. He's on screen most of the time and its his travails we track. He's given an assignment -- find out where a certain Panzer division is located -- and given a new identity, a corporal and a medic in the Luftwaffe with phony papers.
He discovers the whereabouts of the Panzers but comes under suspicion for the slightest of reasons. Little by little, his fake identity is stripped away until he becomes a fugitive before finally joining the rest of the team in an attempt to reach the Allied lines on the other side of the Rhine. The experience is harrowing for Werner and for the viewer.
But equally impressive is the tour of Germany's bare ruined choirs as the war's end approaches. There is a shortage of everything. The buildings are blackened skeletons. A theater has been turned into a vast crater filled with rubble.
During his quest, Werner runs into various German "types". There are the usual fanatical Gestapo and SS troops, but only one of each. Then there is the long and beautiful face of Hildegard Knef, who is a prostitute through no weaknesses of her own and whose story is moving, partly due to the actress' skills. You may or may not recognize Klaus Kinski in his brief appearance. He looks about fourteen.
But the man most impacted by this mission is Richard Basehart, as the team's leader. He's distant, contemptuous towards all Germans, but he expresses his distaste in subtle ways. He never gives a Big Speech about all the Krauts being the same. The expression "you and your kind" is never uttered.
Blech may be on the team because he's a con man and thinks he's gotten a better deal by spying than by remaining in a POW camp, but Werner is an idealist. Actually his position is close to that of von Runstedt and Rommel. They've fought the good fight and lost. Now it's time to end the war. Werner is the most ungainly runner imaginable. When he hurries through the rubble his shoulders are hunched and his arms wave about like Fred Astaire on a binge. But he can be a superb actor. His face is perfect for the role -- handsome, babyish, innocent, pensive.
The movie humanizes the Germans. It couldn't have been made much earlier than it was, 1951. Certain strictures were placed on the depiction of Germans during and immediately after the war. They couldn't be too good, although they could be thoroughly evil. In 1943, John Steinbeck's "The Moon Is Down" appeared on film and both Peter van Eyck, who played a fundamentally decent Nazi, and the author received boos from the public.
In the same year as "Decision Before Dawn", a story of Erwin Rommel, James Mason, was released -- "The Desert Fox." Mason spoke perfect English and Rommel was painted as an idealistic soldier who only reluctantly joined in the attempt to assassinate Hitler. (Which he didn't do, in real life.) More boos from the critics. The world wasn't ready to forgive Germany yet, and the following year Mason again played Rommel in "The Desert Rats", but as a stereotype, with false bravado and an English mangled by the worst German accent you could conjure up. We still occasionally run into German villains in modern movies, although they're hard put to compete with the Russians and with swarthy terrorists.
In some ways, "Decision Before Dawn" may be the best of the lot -- complex in the way that reality itself is complex. It's an adult movie and very suspenseful.
But the picture belongs to Oskar Werner. He's on screen most of the time and its his travails we track. He's given an assignment -- find out where a certain Panzer division is located -- and given a new identity, a corporal and a medic in the Luftwaffe with phony papers.
He discovers the whereabouts of the Panzers but comes under suspicion for the slightest of reasons. Little by little, his fake identity is stripped away until he becomes a fugitive before finally joining the rest of the team in an attempt to reach the Allied lines on the other side of the Rhine. The experience is harrowing for Werner and for the viewer.
But equally impressive is the tour of Germany's bare ruined choirs as the war's end approaches. There is a shortage of everything. The buildings are blackened skeletons. A theater has been turned into a vast crater filled with rubble.
During his quest, Werner runs into various German "types". There are the usual fanatical Gestapo and SS troops, but only one of each. Then there is the long and beautiful face of Hildegard Knef, who is a prostitute through no weaknesses of her own and whose story is moving, partly due to the actress' skills. You may or may not recognize Klaus Kinski in his brief appearance. He looks about fourteen.
But the man most impacted by this mission is Richard Basehart, as the team's leader. He's distant, contemptuous towards all Germans, but he expresses his distaste in subtle ways. He never gives a Big Speech about all the Krauts being the same. The expression "you and your kind" is never uttered.
Blech may be on the team because he's a con man and thinks he's gotten a better deal by spying than by remaining in a POW camp, but Werner is an idealist. Actually his position is close to that of von Runstedt and Rommel. They've fought the good fight and lost. Now it's time to end the war. Werner is the most ungainly runner imaginable. When he hurries through the rubble his shoulders are hunched and his arms wave about like Fred Astaire on a binge. But he can be a superb actor. His face is perfect for the role -- handsome, babyish, innocent, pensive.
The movie humanizes the Germans. It couldn't have been made much earlier than it was, 1951. Certain strictures were placed on the depiction of Germans during and immediately after the war. They couldn't be too good, although they could be thoroughly evil. In 1943, John Steinbeck's "The Moon Is Down" appeared on film and both Peter van Eyck, who played a fundamentally decent Nazi, and the author received boos from the public.
In the same year as "Decision Before Dawn", a story of Erwin Rommel, James Mason, was released -- "The Desert Fox." Mason spoke perfect English and Rommel was painted as an idealistic soldier who only reluctantly joined in the attempt to assassinate Hitler. (Which he didn't do, in real life.) More boos from the critics. The world wasn't ready to forgive Germany yet, and the following year Mason again played Rommel in "The Desert Rats", but as a stereotype, with false bravado and an English mangled by the worst German accent you could conjure up. We still occasionally run into German villains in modern movies, although they're hard put to compete with the Russians and with swarthy terrorists.
In some ways, "Decision Before Dawn" may be the best of the lot -- complex in the way that reality itself is complex. It's an adult movie and very suspenseful.
realistic WWII movie, illustrates a little-known aspect of the war
madmad17 October 2001
I saw this movie recently on AMC, and was extremely impressed. It was filmed on location only a few years after the end of the war, and uses the bombed-out scenery to brilliant advantage. I agree with all of the previous comments, and wonder why this film is not available on DVD or video. I was so intrigued by the story that I found a copy of the book on which it was based over the internet, "Call it Treason" by George Howe. I just finished it, and I enthusiastically recommend the book,it's worth searching for (out of print.) I wish there were more books and movies like this around....
Earnest WWII Drama Falls Just Short
evanston_dad26 September 2008
A WWII yarn about a German prisoner (Oskar Werner) who volunteers himself for spy work in the front lines during the waning days of the European conflict. He's sent off on a mission that also involves another German spy and an American radio man (Richard Basehart). While carrying it out, he suffers a crisis of conscience, torn between his allegiance to his home country and his belief that the best way to help his people is to help the Americans wipe out Hitler's regime.
"Decision Before Dawn" is an entertaining spy thriller that benefits from its authentic, on location shooting amid bombed out European villages. But it could have been a much more interesting film had its moral conflicts been given more air time. It then would have been like something from Graham Greene. Unfortunately, Werner's crisis isn't shown to us as much as it's told to us in a few moments of voice over. Werner himself gives a good performance with the material he's given to work with, but it's tough to shake off the feeling of missed opportunity that surrounds the role.
Speaking of Graham Greene, the film's finale is a chase through the rubble of a German town, and it's reminiscent of "The Third Man," but this one feels slightly dogged when compared to that other film's sense of funhouse excitement.
Also starring Gary Merrill as the leader of the American mission, and Hildegard Knef in a brief but memorable role as a possible romantic complication for Werner.
Grade: B+
"Decision Before Dawn" is an entertaining spy thriller that benefits from its authentic, on location shooting amid bombed out European villages. But it could have been a much more interesting film had its moral conflicts been given more air time. It then would have been like something from Graham Greene. Unfortunately, Werner's crisis isn't shown to us as much as it's told to us in a few moments of voice over. Werner himself gives a good performance with the material he's given to work with, but it's tough to shake off the feeling of missed opportunity that surrounds the role.
Speaking of Graham Greene, the film's finale is a chase through the rubble of a German town, and it's reminiscent of "The Third Man," but this one feels slightly dogged when compared to that other film's sense of funhouse excitement.
Also starring Gary Merrill as the leader of the American mission, and Hildegard Knef in a brief but memorable role as a possible romantic complication for Werner.
Grade: B+
Nazi defectors
RanchoTuVu1 June 2010
Close to the end of WW2, the US military recruits Nazi defectors from the ranks of German POW's to return to Germany as spies. Klaus Kinski makes a brief appearance during the interview process, but his character is rejected. Who is accepted to participate in this mission is incomparable Oskar Werner as Corporal Karl Maurer who is given the code name Happy. It's an ironic name for such a serious actor. He's perfect for the part in this heavy film set largely in the destruction of bombed out cities. Such a setting makes it difficult for the Germans to actually capture him, as when they are on to his trail, the aerial Allied bombings begin again. There are lots of places to hide amidst the treacherous ruins of the near collapsing buildings.Yet the Germans try to maintain discipline to the very end, as a deserter is hanged and his body is left for all to see. The film uses the destruction in which it is set and reminds us of how things change when the peace time environment becomes lost amidst the destruction. Werner goes through several meetings with Germans, the best being the Colonel who orders the deserter to be hanged, and another with the tragic character played by Hildegard Knef, whom he meets in a bar. Amidst the desperation still lurks a couple of true Nazi believers, one played quite well by Wilfred Seyferth as Heinz Scholtz, a dangerous SS man who befriends the traitor Werner. The film is overwhelmingly stark and lacks any sense of humor whatsoever, but in my book that just adds to the overall effect, much like some of the Cold War era spy films, such as The Spy Who Came In From The Cold.
"So Long Happy"
richardchatten8 November 2020
Although Richard Basehart is top-billed and his observations bookend the film, the real star is Oskar Werner - beset as usual with doubts - as the ironically nicknamed 'Happy'.
Like earlier Hollywood productions shot in Germany, this adaptation of George Howe's novel 'Call It Treason' (1949) goes for a harsh, monochromatic realism. Unlike them it's actually set back during the war itself from the point of view of the Germans themselves (most of the supporting cast consisting of authentic locals, including fleeting glimpses of youthful versions of Klaus Kinski and Gert Frobe) at the point when it had finally sunk in on the majority of them just what a terrible mistake they had made in electing Hitler.
Like earlier Hollywood productions shot in Germany, this adaptation of George Howe's novel 'Call It Treason' (1949) goes for a harsh, monochromatic realism. Unlike them it's actually set back during the war itself from the point of view of the Germans themselves (most of the supporting cast consisting of authentic locals, including fleeting glimpses of youthful versions of Klaus Kinski and Gert Frobe) at the point when it had finally sunk in on the majority of them just what a terrible mistake they had made in electing Hitler.
Harrowing experience
steve-133831 May 2004
For anyone who is used to freedom, this movie shows better than any other what it is like to live in a total police state. The Thousand-Year Reich is shown with every wart and blemish, making this one of the greatest propaganda movies for freedom. But it is a harrowing experience, a true thriller. For the life of me, I cannot understand why this film is not better known and why it is hardly available in public libraries. Could this reflect the conservative, McCarthyite influence on movies? I think it is a must-see.
Pretty good WWIi film dealing with an exciting and realistic story about German soldiers collaborating with Allied
ma-cortes28 October 2020
US army recruits Nazi soldiers to infliltrate enemy territory to take information for the Allied troops. As they recruit two spies who are nicknamed Tiger : Hans Christian Blech and Happy : Oskar Werner . Later on , Tiger and an American officer : Richard Basehart are stealthily infiltrated in Nazi territory and Happy is parachuted near Munich, their assignment : to gather information by discovering the whereabouts of a German regiment moving to West front and threatening the allied advance . While the cruel Gestapo carries out a merciless pursuit of deserters , capturing suspect spies and submitting them to firing squad. A woman's Kiss...a lighted cigarette. Each had its meaning! A stirring and realist story of war of German prisoners sent back their own lines of agents of the Allies ¡
An interesting and thrilling picture about a peculiar subject , Nazis collaborating with US Army, it is tense , intriguing and well paced . Special mention for the realist and breathtaking production design , being shot on location in authentic places with large areas really bombed , detritus , rubbish and buildings have not been reconstructed yet . Being based on a real story and a novel written by George Howe , competently adapted by Peter Viertel. Well starred by Oskar Werner who in real life also deserted from the Wehrmacht and Richard Basehart as Lieutenant Rennick . Along with a nice plethora of secondaries as Gary Merrill , Hidegard Knef , Dominique Blanchard , O.E. Hasse , and brief appearances from Klaus Kinski , Gert Frobe , among others .
Exceptional cinematography in Black and White by Franz Planer . And evocative and moving musical score by Franz Waxman. The picture was competently directed by Anatole Litvak. He was born in Ukraine and stayed in Germany working . Anatole moved to France and directed Mayerling with Charles Boyer , Danielle Darrieux . His first Hollywood movie was The Woman I Love 1937 , and made a wide variety of subjects , from sophisticated comedy as Tovarich 1937 to historical drama as Anastasia 1956 , romance as All this and Heaven Too 1940 , crime drama as Dr Clitterhouse with Edward G Robinson and Humphrey Bogart and two tough thrillers starring John Garfield : Castle on the Hudson 1940 and Out of the Fog 1941 . Having become an American citizen , Litvak enlisted in the US army and collaborated with William Wyler in "Why we fight" series of WWII documentaries. Arguably his best films were the Thriller " Sorry wrong the Number" and the splendid psychological drama "The Snake Pit" 1948 , Hollywood's first attempt to seriously examine the treatment of mental illness . Rating : 7.5/10 . Better than average . Well worth watching . Essential and indispensable seeing for WWII enthusiasts .
An interesting and thrilling picture about a peculiar subject , Nazis collaborating with US Army, it is tense , intriguing and well paced . Special mention for the realist and breathtaking production design , being shot on location in authentic places with large areas really bombed , detritus , rubbish and buildings have not been reconstructed yet . Being based on a real story and a novel written by George Howe , competently adapted by Peter Viertel. Well starred by Oskar Werner who in real life also deserted from the Wehrmacht and Richard Basehart as Lieutenant Rennick . Along with a nice plethora of secondaries as Gary Merrill , Hidegard Knef , Dominique Blanchard , O.E. Hasse , and brief appearances from Klaus Kinski , Gert Frobe , among others .
Exceptional cinematography in Black and White by Franz Planer . And evocative and moving musical score by Franz Waxman. The picture was competently directed by Anatole Litvak. He was born in Ukraine and stayed in Germany working . Anatole moved to France and directed Mayerling with Charles Boyer , Danielle Darrieux . His first Hollywood movie was The Woman I Love 1937 , and made a wide variety of subjects , from sophisticated comedy as Tovarich 1937 to historical drama as Anastasia 1956 , romance as All this and Heaven Too 1940 , crime drama as Dr Clitterhouse with Edward G Robinson and Humphrey Bogart and two tough thrillers starring John Garfield : Castle on the Hudson 1940 and Out of the Fog 1941 . Having become an American citizen , Litvak enlisted in the US army and collaborated with William Wyler in "Why we fight" series of WWII documentaries. Arguably his best films were the Thriller " Sorry wrong the Number" and the splendid psychological drama "The Snake Pit" 1948 , Hollywood's first attempt to seriously examine the treatment of mental illness . Rating : 7.5/10 . Better than average . Well worth watching . Essential and indispensable seeing for WWII enthusiasts .
Great
ja86vet22 January 2002
Probably the most realistic WW II war movies made. Most of the extras are real German POWs, all german actors were ex German soldiers. The uniforms, helmets, weapons etc. are authentic and accurate. The film was filmed in post war Germany, the bombed out street scenes are the real thing! The film is even somewhat sympathetic towards Germans which could not have been popular that soon after war.
Not As Good As Others Claim...
brad_and_ethan9 December 2007
Warning: Spoilers
This is yet another mediocre entry into the post-war war films genre. Being a war film addict, I was eager to watch the film because of the cast, which included such fine actors as Richard Basehart and Oskar Werner. The story/script starts off well enough, because I found the premise so interesting: What if German prisoners were sent back into Nazi Germany to spy on their own country? After a lengthy setup, perhaps too casual and lengthy the suspense starts when the three soldiers, Happy, Tiger, and the captain are inserted into enemy territory. However, for the rest of the film, the story mainly follows Happy as he tries to verify the status of the 11th Panzer Group, one of the divisions that faced the Allies on the Western Front. Unfortunately, the story doesn't get any more suspenseful. The whole question about Happy which is put toward him before he leaves in a sort of prophetic omen is whether or not he will succumb to his German-ness and betray the mission. However, this possibility isn't really developed or entertained much. The blonde girl in the bar where Happy and the SS courier spend the night offered an opportunity for Happy to get distracted from the mission, thereby giving the story some much-needed dramatic suspense. Unfortunately, she disappears almost as soon as she enters. Another opportunity for him getting distracted is Happy's father, who's a surgeon still serving the Reich. However, we never fully understand his relationship with his dad. He manages to call him one day at his hospital, but Happy merely goes silent and hangs up on him. So, their relationship remains a big mystery to us. We assume they might be somewhat close, since they're both doctors, but alas, we may never know. Perhaps the novel shed more light on their relationship. Also, the voice-over flashbacks which haunt Happy at bedtime don't really garner much pathos, or force him to take alternative action in the plot. Other reviewers claim that Happy is 'challenged' by his native land to betray the mission but where is the evidence in the film? I think a much better example of someone going AWOL is Peter Falk's character in another mediocre WW2 film, 'Castle Keep'. He falls in love with the baker's wife and actually starts baking bread in lieu of his lieutenant's orders! Perhaps if the mission kept the three men together and in conflict (Tiger and Happy never saw eye-to-eye, so there's some drama already) this may have been an answer. On the plus side, the production values are good, and it seems like they must've used actual postwar Europe to film some of the exteriors: Destroyed buildings are just that; and the realism/scenes are incredible. Also, the acting is nearly first-rate. However, as usual you can't make a good film from a mediocre/bad script.
Excellent movie
psw2x31 May 2001
The plot is intriguing; a young German POW decides to help the allied effort to end WWII by becoming a spy. After he is dropped behind German lines in a snowy Bavaria with the sole task to locate the whereabouts of a Panzerdivision, we follow his route to the Rhine in a destroyed, disintegrating, desolate Germany, where only the Gestapo is functioning effectively. With the beautiful work of the camera the grimness of the bombed Germany becomes a backdrop to the soldier's moral dilemma of becoming a spy against his Fatherland. This conflict is well accentuated. This is a great movie, probably the best "real" spy movie I have seen.
Very good
dusan-2218 August 2009
Nice war movie from the old Hollywood school. Pretty modern style of filming, if movie wasn't black and white the one could say that it was from the last decades. Just a fast talking acting style of one or two actors that is typical for the beginning of the Sound film era in Hollywood makes you aware on how this movie really old is. Clever camera, fast and engaging rhythm, tense as a thriller at the times. Pretty convincing acting, very good casting and fantastic war recreation for that time, city in ruins and AA guns look like real. Film is ruined by German characters speaking English language with German accents, making the good actors look like clowns and the whole film like some History Channel show. Also, definition of the main character in the film is somehow lost until the end itself since there is no interaction between separate stories of the characters during the whole film, we are losing two of three main heroes for the whole hour. Worth to mention that movie is pushing strong American propaganda stereotype established by its father Franc Capra: There is no "Prelude to war" hear, but the reason "Why we fought" and black and white distinguishing of good and bad made by the winners. Or should I say one of the winners, since this film as many others made in that era ignores by all means the others (especially Soviet Union - country which really military defeated Nazi Germany) on the very careful and clever way. 7 out of 10, recommended.
The Reich We Did Not Know
johcafra18 May 2008
And simply the best of its kind on the subject. All the more remarkable for "a Hollywood production," but for my money it might as well be "a foreign film." I agree with the user who thought it took courage to make this.
If I had to focus on the screenful of superlatives, it would be on Litvak's direction, the acting by all and by a young Oskar Werner without question (Stateside viewers may also recognize Herren Blech and Hasse as well as Frau Knef), the photography, and of course the story. Note the film's at-first subtle transition that begins with Happy's re-insertion. Afterwards, view Bernhard Wicki's "Die Bruecke."
A note to the user who gently griped over the perceived inaccuracy of shooters: Try that while standing in a wind tunnel and you'll have some small idea of the challenge posed by a contemporaneous bombing raid. At least they weren't standing beneath trees...
(UPDATE: Seek, find and read "Call It Treason," a novel by George Howe dedicated "To Happy 1925--1945.")
If I had to focus on the screenful of superlatives, it would be on Litvak's direction, the acting by all and by a young Oskar Werner without question (Stateside viewers may also recognize Herren Blech and Hasse as well as Frau Knef), the photography, and of course the story. Note the film's at-first subtle transition that begins with Happy's re-insertion. Afterwards, view Bernhard Wicki's "Die Bruecke."
A note to the user who gently griped over the perceived inaccuracy of shooters: Try that while standing in a wind tunnel and you'll have some small idea of the challenge posed by a contemporaneous bombing raid. At least they weren't standing beneath trees...
(UPDATE: Seek, find and read "Call It Treason," a novel by George Howe dedicated "To Happy 1925--1945.")
Oskar Werner is flawless
d_nuttle21 February 2013
Warning: Spoilers
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 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.
Excellent Film
wig21604 March 2005
Warning: Spoilers
I stumbled onto "Decision before Dawn" on cable the other day and was amazed at how great a film it is. The plot is excellent and it plays out a lot like a modern film even though it is from 1951. The acting is superb and the story is deep. I love the realism in this film , the ruins of Germany were used as the set for the film and weapons and equipment is are authentic WW2 stock. I can not believe this gem is not available on DVD let alone VHS. I found a DVD on the internet that was made from digital cable and was glad to purchase it. "Decision before Dawn" is a great espionage-spy film with the war as a backdrop that is undiscovered by the mainstream film goer (hence the 182 votes on this site). Watch this film and you will not be disappointed. 10 stars of 10.
Lackluster War Drama
kenjha10 December 2009
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.
Unususally perceptive war drama.
herzogvon28 June 2005
Having just finished watching this film, as well as reading the previous reviews and agreeing with most all of what has been said, I have a quibble and a comment. The quibble first: The only blemish on an otherwise outstandingly cast movie was Wilfried Seyferth's SS Mann Scholtz. Even in late 1944 / early 1945, one would not have found this Sgt. Schultz style caricature in the ranks of the Schutzstaffel. True, the SS had lowered their standards, but never to that level! This is a criticism based not on some sort of personal preference, but rather on the fact that this fat, slovenly stereotype lacked credibility, and therefore the requisite menace.
As for the comment: Several reviewers have expressed surprise over the seemingly objective, even-handed view of the Germans presented so shortly after the war. Against all expectations, this was more the rule rather than the exception at that time. There was a brief window of clarity of observation that seems to have opened between the time of this film and the early 1960s. Sadly, rather than expand, this shut down in the late 60s, never to re-open to this day. The reason for this has never been clear to me, but I suspect that the continued demonization of the Germans of that period has become something of an industry. ( See almost anything by Stephen Spielberg. ) That said, I add to the general consensus that this is a gem well worth seeking out. Hopefully, MAX (AC) will run it again, soon.
As for the comment: Several reviewers have expressed surprise over the seemingly objective, even-handed view of the Germans presented so shortly after the war. Against all expectations, this was more the rule rather than the exception at that time. There was a brief window of clarity of observation that seems to have opened between the time of this film and the early 1960s. Sadly, rather than expand, this shut down in the late 60s, never to re-open to this day. The reason for this has never been clear to me, but I suspect that the continued demonization of the Germans of that period has become something of an industry. ( See almost anything by Stephen Spielberg. ) That said, I add to the general consensus that this is a gem well worth seeking out. Hopefully, MAX (AC) will run it again, soon.
Germany toward end of WWII - suspend disbelief
adrianovasconcelos11 March 2024
Anatole Litvak, the Ukrainian-born director who signed such great works as GOODBYE AGAIN, SNAKE PIT, among other films, serves up a well directed effort in DECISION BEFORE DAWN.
The French gave the film the title of LE TRAITRE (the traitor), which strikes me as more truthful and effective than DECISION BEFORE DAWN... because ultimately there is no decision, the whirlwind of war action just removes decision from everyone's hands, even the Americans trying to win the war quickly in German territory.
Human life is not worth burned skin in this movie, and Oskar Werner - superior performance - conveys that situation quite effectively as he somehow eludes death by willingly changing allegiance and serving his country's invaders, changing his name, changing documents, changing clothes, even grabbing a Gestapo necklace from a dead man... but in the end you cannot escape your fate.
Gary Merrill and Richard Basehart have comparatively smaller parts than Werner as Americans using captured German soldiers as spies. Understandably, nothing is honorable about anyone's actions in this film and I can live with that - war does indeed force everyone into unwanted and unexpected situations. I just did not find some of those situations likely to happen, namely Gestapo officers allowing Werner to live a minute longer than orders to kill him, Werner trying to swim with cramps and still not getting hit by bullets fired from German forces, Basehart also escaping unseen in very cold waters. For a film that opens with a firing squad executing a traitor, I found that I had to suspend my disbelief rather more often than I care for.
That said, I found the movie compelling and watched it one shot from beginning to end. 7/10.
The French gave the film the title of LE TRAITRE (the traitor), which strikes me as more truthful and effective than DECISION BEFORE DAWN... because ultimately there is no decision, the whirlwind of war action just removes decision from everyone's hands, even the Americans trying to win the war quickly in German territory.
Human life is not worth burned skin in this movie, and Oskar Werner - superior performance - conveys that situation quite effectively as he somehow eludes death by willingly changing allegiance and serving his country's invaders, changing his name, changing documents, changing clothes, even grabbing a Gestapo necklace from a dead man... but in the end you cannot escape your fate.
Gary Merrill and Richard Basehart have comparatively smaller parts than Werner as Americans using captured German soldiers as spies. Understandably, nothing is honorable about anyone's actions in this film and I can live with that - war does indeed force everyone into unwanted and unexpected situations. I just did not find some of those situations likely to happen, namely Gestapo officers allowing Werner to live a minute longer than orders to kill him, Werner trying to swim with cramps and still not getting hit by bullets fired from German forces, Basehart also escaping unseen in very cold waters. For a film that opens with a firing squad executing a traitor, I found that I had to suspend my disbelief rather more often than I care for.
That said, I found the movie compelling and watched it one shot from beginning to end. 7/10.
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