Van Meer (Albert Bassermann) already knew it in 1939. War is the biggest of all evils. Now, it is July 2022 and there´s an ongoing war in Eastern Europe for nearly five months. Continue reading for ‘Classic Movie Ratings’ tribute to peace and clear minds.
Interlude
I love movie monologues with strong impact. Words that stick. Hitchcock´s war thriller ‘Foreign Correspondent (1940)’ has a scene whose message is timeless and which unsparingly condemns the crimes committed in Europe. Just like eighty years ago, this is just as true today. A Dutch diplomat named Van Meer is tortured and held captive. But even this condition does not stop him from openly expressing his powerful opinion in front of the aggressors. Albert Bassermann, a German actor which immigrated to the US in 1939 because of discrimination of his Jewish wife, plays the peace loving old gentleman with such conviction that this earned him an Oscar nomination for Best Supporting Actor. However, this scene does not live from Bassermann´s on-point acting alone. Other very good cast members are part of this scene, too. Van Meer feels like a spider under the laboratory glass. Let´s see what exactly happens in this room on the upper floor of a London apartment building on the brink of war.
Close Up with Close Words
Sustainability is an important feature of films. This can refer to the way they are made. Landmarks for future generations of film makers. Or the hard-earned status as a cult film, which brings a smile to the lips of countless people. It remains to be seen whether works from the year 2022 will still have the same appeal over many decades as films from ‘The Golden Age of Hollywood.’ Even if ‘Foreign Correspondent (1940)’ is not one of Hitchcock’s best-known works, its style is a signpost for future directors. Maybe it´s not a cult film, but definitely a classic. What sets the motion picture apart from many others are Van Meer´s clever anti-war statements that Albert Bassermann brings to the screen by hitting exactly the right tone. It makes no difference whether you refer to a past or current war, his words value peace in a most sincere way and expose the selfish motives of people responsible. I’ll make that clear with some original excerpts from Van Meer’s monologue of this very scene. He fills the screen and drops of sweat trickle down his forehead. Pain is visible in his eyes. But is he really helpless? No he is not. Words are his weapon.
“I see now. There´s no help. No help … for the whole poor, suffering world. Ohh … you cry peace, Fisher. Peace, And there was no peace. Only war and death. You’re … you´re a liar, Fisher. A cruel, cruel liar.” Insert every dictator name you can think of for > Fisher < and you would still telling the truth.
“You can do what you want with me. That´s not important. But you never conquer them, Fisher. Little people everywhere, who give crumbs to birds. Lie to them. Drive them, whip them, force them into war.” Same situation here. Fisher´s name is a substitute for any war aggressor. ‘Crumbs to birds’ represents the little things in life that can be enjoyed so much in contrast to aggressive fantasies of war. The bed frame bars in the background could be a Hitchcock allusion to Van Meer’s captive situation.
“When the beasts like you will devour each other, then the world will belong to the little people.” If the pit of beasts would be big enough. Then there would probably be a chance for lasting peace on earth.
A German Peacemaker
Albert Bassermann didn´t speak English. So, how was it possible for him to share his illustrious words of peace with us? Hitchcock would answer: “He had to learn his lines phonetically which he did with great talent and the assistance of his wife. Mr. Bassermann has his own Alma.” If you ask me, he did one hell of a job. Talking in a language you aren´t capable of speaking and acting on-point at the same time must be an extraordinary challenge. 73 years old at the start of filming, Bassermann already had an astonishing 53 years of acting experience. As in many other countries, silent film has a long tradition in Germany and at the beginning of the 20th century he was one of the most famous actors. Therefore, it is not surprising that his intense facial expressions come very naturally in this scene.
Albert Bassermann in 1918. Due to his long experience in silent movies, he perfectly understands how to captivate the audience with facial expressions and gestures.
Blinding Terror
The lights in this ‘very attractive nest,’ how Mr. Krug (Eduardo Ciannelli) would describe it, are omnipresent. It gives Van Meer only a short, flashing relief when Fisher (Herbert Marshall) asks his fellow conspirator “Can´t you cut them down?” It isn´t the only torment, that the old man has to endure. Krug´s smoking and port drinking Nazi henchmen play monotonous polka music over and over again to strain the diplomats brain to an unbearable extent. Their goal is to extract a secret clause from his memory which is part of a treaty between the Dutch and the Belgians. By the way, a separate treaty between those two countries during World War Two isn´t known. So it´s entirely fictional. They probably invented this, because Van Meer is Dutch and an agreement of friendly neighboring countries would be conclusive to the audience. Fisher, the double crossing head of the international ‘peace party,’ wants Van Meer to believe that he is still his close friend to get the secret out of the confused and probably drugged man. Hitchcock´s main intention, by directing this scene as he did, was to show the world what the Nazis are capable of doing. Hitler’s war machine does not stop at defenseless old people.
Kurt (name of actor unknown), prepares the next round of brainwashing with repetitive music …
… while photo flood lamps tries to wear Van Meer (Albert Bassermann) down …
… and Fisher (Herbert Marshall) attempts to lull him into a false sense of security with flimsy statements …
All measures are not enough to break him. Physical violence seems to be their only option. The fake receptionist (name of actress unknown) and reporter Scott Ffolliott (George Sanders) nearly can´t bear to watch the sadistic procedure.
In the end, it is not clear whether Van Meer really reveals the important clause to the Nazis. You can still hear him saying, while tortured and in great pain, “In the event of invasion … .” If he tells them something wrong or not is not mentioned in the movie.
Enlightening Hope
While writing about cruel lights, it comes into my mind that Hitchcock also implemented lights of hope in this movie. The (in)famous tacked-on ending of ‘Foreign Correspondent’ was written by Ben Hecht and filmed on 5th of July 1940. Only five days before Germany started to throw real bombs at London. It shows lead character Johnny Jones (Joel McCrea) talking to the US population and their government in a broadcast at a London radio station.
Lights of hope as a contrast to the lights of terror Van Meer has to face? Foreign Correspondent Johnny Jones aka Huntley Haverstock (Joel McCrea) sends a clear message to America while his fiancée Carol (Laraine Day) is frightened from the noise of German bombs falling on London.
Jones original words, before the end screen appears, are as follows. “I can´t read the rest of the speech – the lights have gone out. So I´ll just have to talk off the cuff. All that noise you hear isn´t static. It´s death coming to London. Yes, they´re coming here now. You can hear the bombs falling on the streets and homes. Don´t tune me out. This is a big story and you´re part of it. It´s too late to do anything here except stand in the dark and let them come. It´s as if the lights were all out everywhere… except in America. Keep those lights burning there. Cover them with steel, ring them with guns, build a canopy of battleships and bombing planes around them. Hello, America! Hang on to your lights. They´re the only lights left in the world.” Now, the credits appear and the US national anthem as background music gives it an extra patriotic kick.
I can understand that many of today´s critics consider this ‘imposed’ interference in world political agendas to be wrong. Nowadays, that would certainly be true. However, consider that propaganda was commonplace in international films before and during the second world war. Some other examples are Michael Curtiz´ ‘Casablanca (1942),’ Fritz Lang´s ‘Hangmen Also Die! (1943)’ and Laurence Olivier´s ‘Henry V (1944).’ Today, propaganda remarks in films which concern real war events take place more subtly.
Birds & Comedic Punchlines
I also would like to draw your attention to some details that enrich the scene, but also intensively address the issue of “peace.”
Birds are an recurring feature throughout the movie as Van Meer´s ‘signature’ and a symbolic sign for the dove of peace. He notices them during a cab ride in London and while kidnapped in a dutch mill. They are also part of his speech mentioned above as an excerpt.
Comedic sidekicks are present in most of Hitchcock´s films. There purpose is to make you laugh and not to push the story forward. In ‘Foreign Correspondent (1940)’ it´s a newspaper reporter named Stebbins (Robert Benchley) who constantly complains about his wearisome job as the ‘London Man for The Globe.’ Scott Ffolliott (George Sanders) on the other hand plays a key role in finding Van Meer, chasing the conspirators and much more. But, he also constantly delivers terrific punchlines. Even in times of war, one must not forget to laugh now and then, even if it is only for a short time.
George Sanders´ superb acting as reporter Scott Ffolliott is an essential part of this film. After entering the room, he helps a confused Van Meer to realize that Fisher is an enemy and not his friend. His English dry sense of humor is great and well placed.
Ffolliott with a gun hold to his back: “Pardon me gentlemen, I represent the Jupiter Life Insurance. Could I interest you in a small policy?”
Krug asks his accomplice: “Why did you bring him up here?”
Young Lady with a nervous tone: “I don´t know what to do. He tried to pass by.”
Ffolliott´s reply: “I would gladly release the young lady of this embarrassment. You know how women are with firearms. They have no sense of timing. Now look! I just sit here and you carry on with whatever you are doing. Don´t mind me. I sometimes sit like this for hours.”
Did you know that Sanders appeared in Hitchcock´s ‘Rebecca (1940),’ which was released only four months prior to ‘Foreign Correspondent (1940)’? His versatility as an actor is demonstrated by playing the sleazy Jack Fawell, which characterization is entirely different to Ffolliott. His best performance, in my opinion, can be seen in Fritz Lang´s ‘Man Hunt (1941)’ as the relentless Major Quive Smith.
Rating:
In it´s original trailer, ‘Foreign Correspondent (1940)’ was praised as “THE THRILL SPECTACLE OF THE YEAR.” I can confirm that action is nearly everywhere. Assassination attempts in Amsterdam and London, car chasing in the Dutch landscape, bombing a civilian aircraft in the North Sea and much more. But the most lasting impression are Van Meer’s words of peace. If only two or three international despots internalized this, we would live in a safer world. I watched this Hitchcock movie many times and always look forward to Albert Bassermann´s appearances. You can say that I have a soft spot for speeches with a great scope. See also my post ‘Atticus´s Final Speech from To Kill a Mockingbird (1962).’ I urge everyone, who feels insecure because of the war times in Europe, to see this film and especially keep two ears on Van Meer´s words. A great piece of cinema.
“Come, come it´s all in a good cause.” Van Meer
Complete rating for ‘The Great Diplomat from Foreign Correspondent (1940):
‘The Great Diplomat from Foreign Correspondent (1940)’ climbed ‘Close To The Top’ on the ‘Rating Mountain:’
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