A somewhat far-fetched plot spoils what could have otherwise been an excellent movie with Leslie Howard and Douglas Fairbanks, Jr. in the leading roles. Cast as prisoners in a German POW camp during World War I, Leslie Howard finds out that his wife of just six days has strayed during his two years of captivity -- with his best friend. The film has many of the themes that later POW moves will be known for -- the duty to escape vs. the duty to keep the men safe; how far the leader will go in "collaboration" with the camp commandant; duty and honor vs. personal desire; the juxtaposition of international law within the insanity of war. Paul Lukas as excellent as the commandant. The setting of World War I is interesting because it allows the portrayal of the officers as decent chaps that went to school together who now just happened to be trying to kill each other. The final flying sequence is authentic and worth the price of admission. Recommended.
10 Reviews
The almost-great escape
marcslope25 January 2010
Warning: Spoilers
Pretty good pre-Code melodrama (there's even a fairly graphic shower scene) with an impressively gritty World War I prison camp ambiance, and pleasingly complicated morality. Leslie Howard, doing his usual noble-sufferer thing, nevertheless plays a morally ambiguous hero who, given a chance for unspeakable revenge against his best friend, takes it. Fairbanks, as the friend, plays a severely flawed man, yet makes his way to a happy ending, as does Margaret Lindsay, as an adulteress who doesn't have to die for it. Paul Lukas, the commander of the camp, is polished and dignified, and plays a wholly admirable German--not something you saw in a lot of American movies set in either World War. It looks quite expensive, especially the aerial sequences, and there's real rhythm to the editing. It ends abruptly, and I wouldn't have minded more flashbacks to know the Howard/Lindsay story more thoroughly, but what's there is tense and compelling.
Pretty good little POW film with some twists
AlsExGal24 January 2010
Warning: Spoilers
At first I thought was going to be a routine film about soldiers surviving the POW experience during WWI, but it turned out to be quite a bit more than that with some unexpected turns. Leslie Howard plays Captain Fred Allison, the commanding officer of a group of British flyers who are captured by the Germans. After the British have been imprisoned for awhile, one of the men gets hold of a gun and shoots one of the German guards in a botched escape attempt and, as a result, the whole group is sequestered in a dungeon of sorts with nothing to do and no exercise. As a result, quite a few of the men begin to "lose it" after a few weeks of this isolation. Allison goes to the German commanding officer and says that his men need activity and something to center their attention upon. Allison says if the men are allowed to build little shelters of their own out in the open air of the camp that they will be less trouble, plus Allison guarantees that none will escape. Such an officer's promise meant something back in those days, so the German commander gives Allison his request. One day a few weeks later, some new prisoners arrive. Among them is Lieutenant Fred Digby (Douglas Fairbanks Jr.), Allison's closest friend. In fact, he's closer than he thinks. Allison can talk and think of nothing but his wife Monica - they were married only a short time in London before he shipped off. The problem is, Digby can think of nothing but Monica either. The two fell in love after Allison shipped out. It turns out that Monica almost immediately realized her marriage to Allison was a mistake after he left for war, and has found true love with Digby.
Allison wonders why Monica is not writing to him - she is actually too busy writing love letters to Digby. Digby is not really a cad, and hearing Allison go on and on about his wife - Allison even builds a miniature replica of their house in London from memory - Digby realizes this prison camp is not big enough for Allison, Digby, and Digby's conscience. Digby plans an escape, and being a gentleman he even tells Allison ahead of time so he can turn him in to the Germans if he wants. Allison does not. Digby escapes successfully, but he gets a bit tripped up in the barbed wire and leaves his coat behind - a coat that happens to contain Monica's love letters to him. Unfortunately for Digby, the night of his escape is also the same one in which a psychotic POW - Strogin - rapes and kills the German girl who brings supplies into the camp. Strogin has slipped out, committed his horrible crime, and slipped back into the bunkhouse undetected. Thus, the Germans blame the crime on Digby.
The next morning the girl's body is found along with Digby's coat nearby. The German commandant tells Allison that he is requesting that the British return Digby for trial for the murder of the girl, but that he needs Allison's signature to lend gravity to the request, otherwise the British will just consider this a ruse to get an escaped prisoner returned. At first Allison refuses, claiming Digby is not capable of such a deed. The commandant hands Allison Digby's coat that was found nearby, claiming this proves he is a logical suspect. Of course, Allison finds Monica's love letters in the pocket, reads them, and plans a terrible revenge - he signs the commandant's request for Digby's return.
How all of this plays out is very interesting, and being made before the production code I'll say you don't exactly get the moral ending you'd expect if this film had been made just a couple of years later. Leslie Howard is always interesting to watch, and his great acting talents somewhat make up for Fairbanks' tendency to ham it up sometimes. Highly recommended as a very entertaining war picture that is really not that much about war at all.
Allison wonders why Monica is not writing to him - she is actually too busy writing love letters to Digby. Digby is not really a cad, and hearing Allison go on and on about his wife - Allison even builds a miniature replica of their house in London from memory - Digby realizes this prison camp is not big enough for Allison, Digby, and Digby's conscience. Digby plans an escape, and being a gentleman he even tells Allison ahead of time so he can turn him in to the Germans if he wants. Allison does not. Digby escapes successfully, but he gets a bit tripped up in the barbed wire and leaves his coat behind - a coat that happens to contain Monica's love letters to him. Unfortunately for Digby, the night of his escape is also the same one in which a psychotic POW - Strogin - rapes and kills the German girl who brings supplies into the camp. Strogin has slipped out, committed his horrible crime, and slipped back into the bunkhouse undetected. Thus, the Germans blame the crime on Digby.
The next morning the girl's body is found along with Digby's coat nearby. The German commandant tells Allison that he is requesting that the British return Digby for trial for the murder of the girl, but that he needs Allison's signature to lend gravity to the request, otherwise the British will just consider this a ruse to get an escaped prisoner returned. At first Allison refuses, claiming Digby is not capable of such a deed. The commandant hands Allison Digby's coat that was found nearby, claiming this proves he is a logical suspect. Of course, Allison finds Monica's love letters in the pocket, reads them, and plans a terrible revenge - he signs the commandant's request for Digby's return.
How all of this plays out is very interesting, and being made before the production code I'll say you don't exactly get the moral ending you'd expect if this film had been made just a couple of years later. Leslie Howard is always interesting to watch, and his great acting talents somewhat make up for Fairbanks' tendency to ham it up sometimes. Highly recommended as a very entertaining war picture that is really not that much about war at all.
Unknown World War I prison drama is a relic but still carries a punch...
Doylenf18 October 2006
Warning: Spoilers
In a salute to director Roy Del Ruth, TCM aired this one, a relic from the early past of Capt. LESLIE HOWARD and Lt. DOUGLAS FAIRBANKS, JR., who are both prisoners of war in a German concentration camp run by Commandant PAUL LUKAS. Howard's wife is MARGARET LINDSAY.
It's a forerunner of films like STALAG 17, but the accent is on drama rather than comedy and the love interest is crucial to the plot, with Howard separated from a wife he hasn't seen in two years. With dialog full of clichés, some of the romantic moments (flashbacks to Howard's past) are an embarrassment.
Howard is reunited with an old friend (DOUGLAS FAIRBANKS, JR.) when his plane makes a forced landing and he ends up in the same prison camp. Fairbanks is grilled by Howard about his wife and how she is--and we soon learn that Fairbanks has been having a relationship with her. The plot develops into a study of their relationship as comrades despite both loving the same woman and generates further suspense when Fairbanks is wrongly suspected of killing and raping a German woman.
The performances are excellent with Howard and Fairbanks both extremely impressive. The firing squad scene seems a bit excessive for dramatic effect when Howard's nobility takes over and he confesses that he knows the truth about Fairbanks' innocence in the murder. It's a grittier, scruffier and more virile role than usual for Howard and he makes the most of it.
Naturally, this being a POW drama, there are escape plans that give added suspense to the final scenes with Howard heroically enabling a great escape. It looks as if it was given low-budget treatment by Warners except for some good action scenes.
Summing up: Creaky plot but worth watching. The trench warfare scenes are well staged.
It's a forerunner of films like STALAG 17, but the accent is on drama rather than comedy and the love interest is crucial to the plot, with Howard separated from a wife he hasn't seen in two years. With dialog full of clichés, some of the romantic moments (flashbacks to Howard's past) are an embarrassment.
Howard is reunited with an old friend (DOUGLAS FAIRBANKS, JR.) when his plane makes a forced landing and he ends up in the same prison camp. Fairbanks is grilled by Howard about his wife and how she is--and we soon learn that Fairbanks has been having a relationship with her. The plot develops into a study of their relationship as comrades despite both loving the same woman and generates further suspense when Fairbanks is wrongly suspected of killing and raping a German woman.
The performances are excellent with Howard and Fairbanks both extremely impressive. The firing squad scene seems a bit excessive for dramatic effect when Howard's nobility takes over and he confesses that he knows the truth about Fairbanks' innocence in the murder. It's a grittier, scruffier and more virile role than usual for Howard and he makes the most of it.
Naturally, this being a POW drama, there are escape plans that give added suspense to the final scenes with Howard heroically enabling a great escape. It looks as if it was given low-budget treatment by Warners except for some good action scenes.
Summing up: Creaky plot but worth watching. The trench warfare scenes are well staged.
Seedy Story
GManfred1 August 2018
Always liked both of the principals here, especially Leslie Howard. And this could have been a good war story with the premise of two old buddies reunited in a POW camp and plotting an escape. But it started to lose me when it unfolded, as it turns out that one cuckolded the other when one was pressed into service. Played impeccably by Leslie Howard, Capt. Allison pines for the bride he left behind, which stirs guilt in his best friend, Lt. Digby (Fairbanks), who had an affair with his wife.
Howard carries the picture and Fairbanks is not up to the task as the co-respondent and not in the same acting class with Howard. Fairbanks overreacts each time Howard talks about his wife, and a child could tell something was not right between the two. There is additionally a surreal air about the POW camp, as the men were allowed to build facsimiles of country cottages on the grounds of the camp to simulate home. This fanciful idea was granted by the commandant of the camp, played by a benign Paul Lukas. A couple of rousing fight scenes, but the story was tainted by the aforementioned flaws.
5/10 - The website no longer prints my star ratings.
Howard carries the picture and Fairbanks is not up to the task as the co-respondent and not in the same acting class with Howard. Fairbanks overreacts each time Howard talks about his wife, and a child could tell something was not right between the two. There is additionally a surreal air about the POW camp, as the men were allowed to build facsimiles of country cottages on the grounds of the camp to simulate home. This fanciful idea was granted by the commandant of the camp, played by a benign Paul Lukas. A couple of rousing fight scenes, but the story was tainted by the aforementioned flaws.
5/10 - The website no longer prints my star ratings.
Captured by love
TheLittleSongbird19 February 2020
While a bit mixed on the premise, which sounded sort of intriguing but familiar ground and could easily be predictable and hokey if not executed well, that didn't stop me from seeing 'Captured' anyway. Namely because Leslie Howard, Douglas Fairbanks Jr and Paul Lukas all gave great performances in other films, Howard having the highest number of them of the three. Am not quite as familiar with Margaret Lindsay.
'Captured' turned out to be in my view an above average if not essential film if not a great one, that does generally deserve to be better known. It can be easily criticised, with there being some drawbacks that bring the film down quite a bit. But if anybody finds entertainment value, or any kind of value, in 'Captured' that is also every bit as understandable, as there are some very good things that just about edge out the drawbacks.
The not so good things will be mentioned first. The story can be pretty far-fetched with a pace that has the odd tendency to creak. The ending is abrupt and wraps things up rather too neatly, despite a quite tense build up.
Some of the dialogue is less than great, at its worst such as in the more romantic parts in the flashbacks it can be laughably bad and unintentionally awkward. Descending too into melodrama that can be overwrought and cliche ridden.
On the other hand, 'Captured' is slickly shot and although one can tell somewhat that the sets are studio backlot ones, they don't look cheap and the moody lighting gives a sinister atmosphere when needed. The music avoids over-scoring and there are moments of competent direction in namely the build up to the end (less so in the more romantic moments).
Although the dialogue is heavily flawed, it becomes more thoughtful and suspenseful in the last act. Which is the portion of the film where the film is at its most involving, the climactic fire squad scene is quite powerful and would have had even more impact if the film was wrapped up more believably.
Performances are very good, especially from a gritty and authoritative Howard as the most well defined character in the film. Fairbanks also fares well and is not lightweight or taxed by one of his more dramatic roles. Lukas brings dignity to his role and Lindsay makes the most of an underwritten plot-device role.
In conclusion, above average if not great. 6/10
'Captured' turned out to be in my view an above average if not essential film if not a great one, that does generally deserve to be better known. It can be easily criticised, with there being some drawbacks that bring the film down quite a bit. But if anybody finds entertainment value, or any kind of value, in 'Captured' that is also every bit as understandable, as there are some very good things that just about edge out the drawbacks.
The not so good things will be mentioned first. The story can be pretty far-fetched with a pace that has the odd tendency to creak. The ending is abrupt and wraps things up rather too neatly, despite a quite tense build up.
Some of the dialogue is less than great, at its worst such as in the more romantic parts in the flashbacks it can be laughably bad and unintentionally awkward. Descending too into melodrama that can be overwrought and cliche ridden.
On the other hand, 'Captured' is slickly shot and although one can tell somewhat that the sets are studio backlot ones, they don't look cheap and the moody lighting gives a sinister atmosphere when needed. The music avoids over-scoring and there are moments of competent direction in namely the build up to the end (less so in the more romantic moments).
Although the dialogue is heavily flawed, it becomes more thoughtful and suspenseful in the last act. Which is the portion of the film where the film is at its most involving, the climactic fire squad scene is quite powerful and would have had even more impact if the film was wrapped up more believably.
Performances are very good, especially from a gritty and authoritative Howard as the most well defined character in the film. Fairbanks also fares well and is not lightweight or taxed by one of his more dramatic roles. Lukas brings dignity to his role and Lindsay makes the most of an underwritten plot-device role.
In conclusion, above average if not great. 6/10
If you turn off your brain, you can enjoy this film. Just don't think too much as you watch it.
planktonrules30 January 2010
Warning: Spoilers
Tons O' Spoilers Alert!!
This is a WWI prisoner of war film. It begins with allied soldiers (British, American and French) in a German internment camp for captured officers. Soon, one of the prisoners goes nuts and this sparks a deadly riot. In response, the Germans lock all the soldiers in a building and leave them there for weeks. Finally, out of desperation, the senior officer (Leslie Howard) makes a deal--the prisoners will stop offering resistance if the Germans let them out of the building and run it like a normal prison camp. SO, for a very long time in the film, a truce exists and all is well...and boring, as they're stuck until the war is finished.
In comes improbable incident #1. A man (Douglas Fairbanks, Jr.) who has fallen in love with the EXACT SAME WOMAN that Howard was in love with arrives in camp as a prisoner. Unlike those who are following the truce, he wants to escape desperately--and since his rival is in the camp with him, there's A LOT of incentive to do so. When Fairbanks eventually does escape, a local woman is found dead and it appears she was raped! This plot element clearly shows that this is a Pre-Code film--when such topics were still allowed and relatively common in films.
Because it appears that the escaped prisoner is a murderer/rapist, Howard signs a letter sent to Allied command--requesting the prisoner's return to face charges for this evil deed. Well, given that WWI was still occasionally fought as a 'gentlemanly war', the Allies force Fairbanks to return. The Germans sentence him to death and just before he is killed enters improbable incident #2 (perhaps 'impossible incident #1 is a better term)--a crazy man signs a confession that he and not Fairbanks had done the evil deed. But, knowing now that Fairbanks took his girlfriend away from him, Howard is torn--will he try to stop the execution or just stand back and get his revenge? Overall, the film has some very good acting and nice sets that look rather authentic. However, given the improbability of it all, as I said, you must suspend disbelief. If you can, it's worth seeing and definitely gets points for being original.
Super-Duper Spoiler to Follow: In the final scene where Leslie Howard is killed, watch him closely. After he's supposedly dead, you can see his eyebrow quickly move! I'm not sure how this got past the director or editor (and in many films this is the same person).
This is a WWI prisoner of war film. It begins with allied soldiers (British, American and French) in a German internment camp for captured officers. Soon, one of the prisoners goes nuts and this sparks a deadly riot. In response, the Germans lock all the soldiers in a building and leave them there for weeks. Finally, out of desperation, the senior officer (Leslie Howard) makes a deal--the prisoners will stop offering resistance if the Germans let them out of the building and run it like a normal prison camp. SO, for a very long time in the film, a truce exists and all is well...and boring, as they're stuck until the war is finished.
In comes improbable incident #1. A man (Douglas Fairbanks, Jr.) who has fallen in love with the EXACT SAME WOMAN that Howard was in love with arrives in camp as a prisoner. Unlike those who are following the truce, he wants to escape desperately--and since his rival is in the camp with him, there's A LOT of incentive to do so. When Fairbanks eventually does escape, a local woman is found dead and it appears she was raped! This plot element clearly shows that this is a Pre-Code film--when such topics were still allowed and relatively common in films.
Because it appears that the escaped prisoner is a murderer/rapist, Howard signs a letter sent to Allied command--requesting the prisoner's return to face charges for this evil deed. Well, given that WWI was still occasionally fought as a 'gentlemanly war', the Allies force Fairbanks to return. The Germans sentence him to death and just before he is killed enters improbable incident #2 (perhaps 'impossible incident #1 is a better term)--a crazy man signs a confession that he and not Fairbanks had done the evil deed. But, knowing now that Fairbanks took his girlfriend away from him, Howard is torn--will he try to stop the execution or just stand back and get his revenge? Overall, the film has some very good acting and nice sets that look rather authentic. However, given the improbability of it all, as I said, you must suspend disbelief. If you can, it's worth seeing and definitely gets points for being original.
Super-Duper Spoiler to Follow: In the final scene where Leslie Howard is killed, watch him closely. After he's supposedly dead, you can see his eyebrow quickly move! I'm not sure how this got past the director or editor (and in many films this is the same person).
A definitive film noir!
JohnHowardReid6 December 2017
Warning: Spoilers
"Captured!" (1933) is a prince of a film noir, and will serve to illustrate exactly what film noir is: (1) the theme is not only downbeat, but unrelentingly so from start to finish, except for a flashback or two which serve to make the hero's situation even more poignant and impossible-to-endure; (2) the central character is depressed. He feels hemmed in, disillusioned, and is convinced he has no way to go, no way out – except death; (3) the atmosphere of the film is extremely black, the mood intensified by clever cinematography and effects.
Captured! represents an extreme example of all three noir characteristics. Not only is almost every scene set at night, but the lighting always makes a distinct contrast between pinpoints of brightness and seas of black.
To add to the realistic effects, the central character (Leslie Howard) is unflatteringly photographed, whereas his nemesis (Douglas Fairbanks, Jr.) always looks as if he has just stepped out of a band-box.
Paul Lukas, as immaculately attired as he is good-mannered, serves as a further contrast to the quietly-spoken, nervy hero.
Superbly paced and directed by the way under-rated Roy Del Ruth, "Captured!" is, if anything, too grim, too uncompromising in its depiction of a hideous prison camp, to be regarded as escapist entertainment, but it definitely ranks as a definitive must-see for film noir fans.
Captured! represents an extreme example of all three noir characteristics. Not only is almost every scene set at night, but the lighting always makes a distinct contrast between pinpoints of brightness and seas of black.
To add to the realistic effects, the central character (Leslie Howard) is unflatteringly photographed, whereas his nemesis (Douglas Fairbanks, Jr.) always looks as if he has just stepped out of a band-box.
Paul Lukas, as immaculately attired as he is good-mannered, serves as a further contrast to the quietly-spoken, nervy hero.
Superbly paced and directed by the way under-rated Roy Del Ruth, "Captured!" is, if anything, too grim, too uncompromising in its depiction of a hideous prison camp, to be regarded as escapist entertainment, but it definitely ranks as a definitive must-see for film noir fans.
Romantic triangle subplot weakens strong prisoner of war tale.
mark.waltz5 April 2013
Warning: Spoilers
There is a feeling of artificiality to the conflict between the two Oxford chums (Leslie Howard and Douglas Fairbanks Jr.) who are both in love with the same woman (Margaret Lindsay) and the conflicts which arise when this is revealed while they are prisoners of the Germans during World War I. The opening is truly exciting, an escape attempt where the men seem to be on their way to freedom. They are put into solitary confinement, released only when a new commandant (Paul Lukas) makes an agreement with their leader (Howard). Lukas is by far the most interesting character in the film, giving a look into a truly decent character who just happens to be German. His kindness to the prisoners is reflected by his agreement to give the men smaller shared quarters rather than large dorms and more freedoms, showing a perspective not often shown in films on the enemy during the two World Wars.
A plot line involving the rape and murder of a local girl by an obviously deranged prisoner is quite disturbing and feels forced as Fairbanks is accused of the murder and sentenced to death. This wraps up the plot line a bit too neatly as if someone was writing the script from a chart of predictable ideas rather than really giving us an in-depth story of what life was like at a prisoner of war camp. The whole story of these two friends being at conflict because of Howard's wife who really loves Fairbanks is too predictable. The final shot, though, is totally unforgettable.
A plot line involving the rape and murder of a local girl by an obviously deranged prisoner is quite disturbing and feels forced as Fairbanks is accused of the murder and sentenced to death. This wraps up the plot line a bit too neatly as if someone was writing the script from a chart of predictable ideas rather than really giving us an in-depth story of what life was like at a prisoner of war camp. The whole story of these two friends being at conflict because of Howard's wife who really loves Fairbanks is too predictable. The final shot, though, is totally unforgettable.
Under-Seen WWI POW Film that is Gritty and Gripping
LeonLouisRicci25 August 2015
Obscure WWI Pre-Code Movie Starring Leslie Howard and Douglas Fairbanks Jr. It is a Gritty, Violent, and Compelling POW Story Based on a Novel by Sir Philip Gibbs, a Non-Fiction Chronicler of the Great War and a Liberal Spokesperson of the Era.
This is a Gripping, Downer of a Film (as it should be), Peppered by a Love Triangle that is the Nucleus of the Otherwise Nastiness that Goes On and Besides the Prisoners Plight is What Drives the Story.
The Production is Striking and the Darkness of the Situation is Enhanced by the Almost Exclusive Night-Time Shoot. Very Rare in the Early Thirties.
The Result is a Film that Looks and Feels Different From Others of the Era. The Movie is Bookended with Two Rousing Escape Scenes that are Well Choreographed and Brutal.
Overall, This is an Underseen and Virtually Unknown WWI Film that is Sure to Impress When Discovered.
This is a Gripping, Downer of a Film (as it should be), Peppered by a Love Triangle that is the Nucleus of the Otherwise Nastiness that Goes On and Besides the Prisoners Plight is What Drives the Story.
The Production is Striking and the Darkness of the Situation is Enhanced by the Almost Exclusive Night-Time Shoot. Very Rare in the Early Thirties.
The Result is a Film that Looks and Feels Different From Others of the Era. The Movie is Bookended with Two Rousing Escape Scenes that are Well Choreographed and Brutal.
Overall, This is an Underseen and Virtually Unknown WWI Film that is Sure to Impress When Discovered.
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