This Land Is Mine (1943)

Waste of time

It really made me laugh, but for some moments I was tearing up because I could relate so much.

A clunky actioner with a handful of cool moments.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Despite a slightly confusing location and a distinctively international cast, this is a great film which would have certainly had a positive influence on an audience, who in 1943 were in the middle of the war. The cast is excellent and the Director has not made the mistake of over vilifying the Nazis. The collaborators are also presented as normal citizens who have simply mad bad choices; either for an easy life, because they believe it is good for their community or to protect their families. This is a classic tale of courage, with an excellent finale set in a courtroom. Laughton (playing Albert) who up to this point has played a timid school teacher brilliantly delivers an emotive speech, leaving you with a sense of pride for him and hope for the occupied nation. This is timeless, a must see!

Although I consider myself a film buff, I confess I had never of this film until I saw being broadcast last night at 1.30 in the morning. I was expecting some pedestrian war time propaganda but the presence of Charles Laughton convinced me to watch it. I am astonished that such a powerful film is so little known and broadcasting only rarely.One could argue (as had been done in the comments here) that Laughton's transformation from mouse to man is rather too swift. I myself found it totally convincing but it is in the nature of Hollywood to exaggerate these things to make a good movie.The comparison to "inherit the wind" and "To Kill a mockingbird" is well made here, but the question remains, why is this film so little known? The answer, I think, is that those films make the middle classes feel good about themselves. Everyone fancies themselves to be an Atticus Finch who can recognise the ignorance of 'common people'. But TLIM points the accusing finger at the Atticus Finch's of the world, the men of learning and intelligence who are quite prepared to justify working with evil and persuading themselves that it is not so bad. As such it is as relevant (sadly) as it ever was.

This film was set in an unnamed nation that was just conquered by the Nazis. Given the statue of the WWI soldier at the beginning of the movie, it probably was intended as either Belgium or France (given the style uniform on the statue). However, in an odd Hollywood decision, the cast was made up of a wide variety of actors and accents--such as the very American Kent Smith, the Irish Maureen O'Hara, Englishman Charles Laughton and the very cultured George Sanders (who hailed from Russia from English parents). It was also confusing because the country was just conquered and yet by this point the Americans were apparently in the war (meaning it most likely occurred in 1942 or 43)--and no nation fit this pattern. All were fine actors, however, and the excellent writing made me forget about all this.The story of this fictional nation is all about collaboration versus resistance. Some are obviously evil and seem to like the Germans--or at least look to get rich off the suffering of their own people. Some appear to be collaborators but are actually brave resistance fighters. And Laughton is a nice case--a very wimpy 'everyman' who eventually finds his strength of character through the course of the film.While some might find this all a bit hokey, the film was an excellent piece of positive propaganda. It must have been incredibly rousing when it debuted and according to IMDb it set box office records. Good acting and a nice script make this one of the better films of its type--well worth watching and memorable--especially for Laughton's fine characterization as well as his impressive speech near the end.

There are a number of very good performances in this picture -- Laughton, for one (an actor who was never afraid to present himself, when necessary, as both ludicrous and repulsive, but who manages to conjure up hidden depths in the same character), but also George Sanders, who supplies a sensitive portrayal of a man who just wants everything to run smoothly... until he discovers that one cannot stop at only one betrayal. Walter Slezak channels Francis L. Sullivan ("Pimpernel Smith") in the role of a corpulent, intelligent Nazi, Philip Merivale makes a convincingly idealistic headmaster, and, unexpectedly, Una O'Conner is surprisingly effective as the hero's fierce old mother. The performance slips occasionally into more familiar grotesquerie, but the vital element of fanaticism is well conveyed: this is a mother who will do anything for what she sees as her helpless lamb, even if her ideas of what is in his best interest do not always concur with his own.Maureen O'Hara -- so memorable as Esmeralda to Laughton's 1939 Quasimodo -- I found to be less convincing here. I'm not sure if that's the fault of the actress or the character; her delivery of lines when she discovers the truth about her brother is particularly cringe-making, alas. Kent Smith, meanwhile, is played more or less as a bland all-American hero: his best lines (and acting moments) come in the confrontation scene with George Sanders, although for most of the film it's hard to realise that the two men, so different in seniority (Sanders is a high-ranking official in charge of the whole goods yard, possibly the whole station: Smith is only a duty signalman under him, and appears at least ten years younger, although the two actors were almost the same age) and in character, are supposed to be close friends. The chase sequences involving Smith's character are successfully gripping.But my major problem with the film is that it's just too blatantly preaching to the audience. The broad colloquial Americanisms, though they jolt in such a Continental setting, are understandable in a US-produced film aimed at the home market: but the all too obvious Hollywood-type propaganda elements damage the film by seriously wounding its plausibility. Characters make speeches that are clearly aimed at convincing the audience back home rather than at influencing their fellow-characters: the doctrine of "life, liberty and the pursuit of happiness" is preached. The moral is punched home with a sledge-hammer.