Passage to Marseille
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List Price:
$19.98
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$10.00
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Availability: N/A
Manufacturer: Warner Home Video
Starring: Humphrey Bogart, Claude Rains, Michèle Morgan, Philip Dorn, Sydney Greenstreet
Directed By: Michael Curtiz
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Average Customer Rating:  
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Audience Rating: NR (Not Rated)
Binding: VHS Tape
EAN: 9780790748863
Format: Black & White
ISBN: 079074886X
Label: Warner Home Video
Manufacturer: Warner Home Video
Number Of Items: 1
Publisher: Warner Home Video
Release Date: 2000-03-07
Running Time: 109
Studio: Warner Home Video
Theatrical Release Date: 1944-03-11
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Editorial Reviews:
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Humphrey Bogart reunites with director Michael Curtiz and other key Casablanca personnel (Including co-stars Claude Rains, Peter Lorre and Sydney Greenstreet) for a tension-swept Passage to Marseille. Bogart plays Jean Matrac, a World War II French patriot who escapes Devil's Island, survives a dangerous freighter voyage and becomes a gunner in the Free French Air Corps. Passage sailed into theaters on stormy seas. Controversy surrounded the scene in which Matrac machine-guns the helpless survivors of a downed plane that had attacked the freighter. That a soldier of freedom (one played by Bogart, no less!) would act ignobly brought protests from religious and censorship groups. But, like Matrac facing a strafing dive-bomber, the studio held its ground. War could even dehumanize a hero. Domestic prints would remain uncut. Year: 1944 Director: Michael Curtiz Starring: Humphrey Bogart, Claude Rains, Michelle Morgan, Philip Dorn, Sydney Greenstreet, Peter Lorre Special Feature: Original Theatrical Trailer B&W/110 Mins.
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Spotlight customer reviews:
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Customer Rating:
Summary: Great movie!
Comment: Be warned, this is not your typical Bogart movie if all you are used to is Casablanca and the Maltese Falcon, however it is highly recommended if you want to see Bogart in a different type of role, and don't mind him being not as noble as some of his other films portray him.
Customer Rating:
Summary: Passage to Marseille- Review
Comment: The movie provides a perspective of wartime France that one does not usually see. The film was made when the outcome of the war was not decided. One also sees some of the conflicts experienced by citizens caught up in war. It therefore provided an alternative perspective of the French- they are not all quitters. They are still fighting. The movie is definitely not politically correct. One sees altruism and self sacrifice next to retribution. One sees wise and stupid formal leadership. One sees the strength of informal leadership. One sees the exercise of judgement by officials who know when to adhere to the spirit of the law and when to ignore the letter of the law in deference to the spirit of the law.
Customer Rating:
Summary: Most Patriotic Movie I Have Ever Seen!
Comment: Bogey at his best. He plays French newspaper reporter Jean Matrac who is framed on a murder charge after criticizing the Munich Pact in an editorial and sentenced to Devil's Island. He and a small group of convicts escape in a canoe when they learn of the Nazis invading France, ostensibly wishing to fight for their country. (Matrac merely wants to get home to his new bride and cares nothing about France after the way he was treated by its justice system.) They are picked up at sea by a French cargo ship bound for Marseilles and have numerous adventures aboard the ship including an air attack by a Nazi bomber and a mutiny. Arriving in England as France has surrendered before they reach Europe, all of the former convicts join the Free French Air Force. Matrac becomes a waist gunner aboard one of their B-17 bombers despite his misgivings about his homeland. I never fail to cry at the end, as many times as I have watched this movie since I was a boy. Absolutely incredible movie.
Customer Rating:
Summary: Wartime propaganda
Comment: If TO HAVE AND HAVE NOT was a direct descendent of CASABLANCA, then this picture too was an attempt to cash in on the success (or parts of it) of that beauty. But it's a poor relative. Told as a flashback within a flashback, a group of convicts escapes from Devil's Island in order to go to France to fight the Nazis; their leader is Bogie who confesses he doesn't really want to go back to France to fight, but rather for a woman. But of course his conscience is put to the test and he gets his thinking straightened out. This scene, which takes place on a ship under enemy air attack, and the earlier scenes in the first flashback when Bogie's in Paris with his girl, are right out of CASABLANCA. But Michelle Morgan is no Ingrid Bergman, though Peter Lorre, Claude Rains, and Sidney Greenstreet (as a heavy) all appear again. The ending, when Rains reads a letter from the now-dead Bogie to his wife about Free France rising up to defeat the Germans, is pure sentimental propaganda. Not nearly as good as the earlier movies mentioned.
Customer Rating:
Summary: Another WB/Curtiz/Bogart classic
Comment: Yes, it's dated all right-in the best sense: it's got virtually the same cast and crew as "Casablanca"(though Michele Morgan is no Ingrid Bergman, lovely though she is-and as someone else pointed out, hers *is* a thankless role in an all-male film). It's full of action, suspense, atmosphere(the famous huge tank built on a WB sound stage a few years earlier really comes in handy, as much of the action takes place on ships and boats)-and humor, to temper the super-patriotic slant of the plot-after all, it was mid-war, and it was total war. Even so, Bogart's character is allowed to be somewhat ambivilent, which makes for a suprisingly timely impression all these years later. There are situations and dialogue which with any other cast would be unbearably corny, but in the capable hands of such as Bogie, Claude Rains, Greenstreet and Lorre, they're memorable, sometimes priceless moments. One example: On the eve of their escape, huddled in the dark next to a campfire, aged Devil's Island prisoner "Grandpere", suspects his fellow escapees(especially Bogart) might be less than sincere, and thinks he ought to elicit something more binding than a simple promise that they'll all fight for "La France" when they reach freedom. With perfect comic timing, Peter Lorre whines incredulously: "Do you want us to say our beads?!". Takes the corn right out of the sentimental scene.
This film is famous for containing "a flashback within a flashback WITHIN a flashback!" as film writer Leslie Halliwell pointed out in his book; it's nevertheless a slam-bang piece of entertainment.
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