Paris Underground (1945)
Constance Bennett both produced and starred in the espionager Paris Underground. Bennett and Gracie Fields play, respectively, an American and an English citizen trapped in Paris when the Nazis invade. The women team up to help Allied aviators escape from the occupied city into Free French territory. The screenplay was based on the true wartime activities of Etta Shiber, who engineered the escape of nearly 300 Allied pilots. British fans of comedienne Gracie Fields were put off by the scenes in which she is tortured by the Gestapo, while Constance Bennett's following had been rapidly dwindling since the 1930s; as a result, the heartfelt but tiresome Paris Underground failed to make a dent at the box-office. It would be Constance Bennett's last starring film--and Gracie Fields' last film, period.
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Purely Joyful Movie!
Excellent but underrated film
A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.
Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.
I pretty much agree with the lukewarm review here entitled "Mediocre war heroine tale." This is far from a "gem," as some people would have it.The plot keeps moving and is mildly interesting, although without finger-biting suspense. We know pretty well how each situation will turn out, the romance, the hair's-breadth escapes, and so on. As the end approaches there is a little surprise, but it's all fixed up within minutes as victory is snatched from the jaws of defeat and medals are pinned on the heroines. Ho-hum. I barely kept myself from turning off the television.Outdoor scenes are all shot in studio and look very fake. The foggy night scene in the fields--puleeze! The music has moments when it goes over the top.Although the movie is set in France, French characters are insignificant, while the American and English ladies are large, ultimately heroic presences. It's certainly a narrow, nationalistic vision of "Paris underground." I did find it refreshing to see a movie, especially one focused on the conflicts of war, in which the lead characters are female.Don't get excited about seeing this. Don't set aside important time for it. But if you run into it accidentally, you probably won't think it's a total waste of time.I believe this film was also released with the title "Madame Pimpernel."
I happen to be a fan of Constance Bennett's, and also an admirer - she was not only a fine actress and a beautiful, glamorous woman, but a crackerjack businesswoman and someone who worked hard for the war effort.Having hit 40, Bennett was no longer in demand for leads; in fact, in Two-Faced Woman, she'd had a supporting role. "Paris Underground" is a film she produced herself in England, and it's very good. It's the story of the American wife, Kitty de Mornay (Bennett) of a Frenchman (George Rigaud) who is swept into the Resistance when she's asked to help get an English flier back to London. The work excites and intrigues her so much, she decides not to leave France and instead, continues helping fliers escape. She is assisted in this by a nervous friend (Gracie Fields).I found this a suspenseful and interesting film, and although it wasn't shot in France, some of the sets, like the baker's, were quite good. The performances are excellent. Rigaud as Kitty's husband is suave and likable; Kurt Krueger is excellent as a German officer who takes an interest in Kitty, and Gracie Fields, in her last role, though she lived until 1979, is wonderful as Kitty's friend.This is a little known gem, and I thought it was well done.
Constance Bennett produced this vehicle for herself, which was a fairly typical postwar story of Resistance heroism in Paris (no real location shooting, alas). Constance Bennett had plenty of energy but by this stage in her career she had no genuine charm. She battles her way through the part with determination, but just cannot engage the viewer. Her performance is too mannered, too exterior. Her chum Gracie Fields (in her last film role) does far better, is amusing, watchable, and engaging. A smoothie Frenchman, George Rigaud, plays Bennett's French husband, and he is very convincing at it. Young Kurt Kreuger is excellent as the Gestapo captain with whom Bennett forms an ambivalent semi-romantic friendship, while she is at the same time spiriting downed American and British airmen out of France with the aid of the Resistance. The film is not so bad one wouldn't want to watch it, but it avoids being good. Gregory Ratoff directed it, and it is not one of his finest achievements. If you are uncritical of such films, and do not expect too much, this could afford some diversion.
In a late example of a fading Hollywood star going to England for a career boost, delectable Constance Bennett plays a madcap, irresponsible Yankee stuck in occupied France. She's uses her glam appeal to aid the resistance & help Allied troops escape with the help of co-hort Gracie Fields, the Brit Music Hall star in her final screen perf. The whole unlikely enterprise is done with reasonable flair under surprisingly lively direction from Gregory Ratoff and stellar lighting from lenser Lee Garmes. Too bad no one was able to turn the corner for the last act when the film tries for a darker, more serious tone, but it's well worth a gander. As is the still jolie Mme Bennett.