Reviews

Produced by someone who had practically no knowledge of combat realities in WW2. Forgive the tanks--though the jelly-mould appearance of American tanks on both sides does nothing for realism, giving no contrast with the angular shapes of actual German Mark 4's, sturmgeschutze, Tigers and Panthers.They have no Panzerfaust and only one Panzerschreck that I saw.

The Americans have no bazookas, and no anti-tank guns. The ubiquitous German 88mm, the best anti-tank gun of the war does not appear. The Americans oppose heavy German tanks with light machine guns--a recipe for suicide. The historical point is that the balance between tanks and infantry was swinging to the infantry at just this time as hand-held shaped-charge weapons appeared on both sides.

Bad history and an unconvincing story.

A superb cast singing gloriously is compromised by odd and arbitrary aspects of presentation in this film, but memory edits out the nonsense and one is left with the first-class acting and singing in the highly traditional and engaging body of the work. Interestingly, the weakness of Cavaradossi as a character, which is a recognised problem with Puccini's wonderful melodrama,. comes across particularly clearly in this production, while the contrasting strength of Tosca and Scarpia--power versus love, one might say, is outstanding.

A minor moan--no Catholic woman would have gone into a church with uncovered hair in the 19th century--and no Papal policeman would go in with his hat on! But this director has the cultural equivalent of a tin ear.

I found an old tape of Command Decision which I must have made 20 years ago. I concur with all those who have said that it is one of the best WW2 films ever made, but what struck me most forcefully was the fact that this highly intelligent, gripping and thoughtful film was made with a large crew of established filmstars by a completely commercial film studio. It brought home to me forcibly what was lost when the old studio system broke up and the sheer craftsmanship which it embodied was dispersed. The sheer childishness of most current films becomes even more evident.

Writing as one who lived through the bombing of Britain, the historical perspective on the Allied wartime bombing campaign was fascinating. One small complaint--all film coverage of the American campaign in WW2 seems to focus on the Flying Fortress. Actually, most of the bombs were dropped by the Consolidated Liberator squadrons--less photogenic but more effective!

My wife died of cancer and I lived through a situation in some ways very similar to that depicted in this extraordinary film . I can vouch for its truth. As a work of art it captures the awful complexity of the reactions of those near a person suffering from serious illness, and the way they become a sort of appendage of the technology which may, or may not, save them. The perfomances are excellent. It enlarges one's perception of the world and people, and one cannot ask more of a film than that.

Based on a Simenon novel, this is an inimitably French drama of conscience, in which the wholly unlikeable Lambert, who has killed a group of children in an auto accident, gains our sympathy as he begins to take responsibility for his actions. A marvellous rainy evocation of life in a small French provincial town provides the background. One of the excellent films shown on TV5 which would never get commercial distribution outside France.

Valerie Lemercier is outstanding in this farce in which the French, unusually, laugh at themselves. Jean Reno is as always a solid presence. But Lemercier is that most unusual of creatures, a female clown of genius. Her voice -A Montpellier accent- her walk and gestures as a BCBG aristocrat caught up in ridiculous adventures are perfect and endlessly funny. Lemercier is a woman of high intelligence and varied talents--always the best type for a clown