Wow, Watch on the Rhine’s got it all. Not only does it have a nice metaphor for the United States waking up to the horrors of the Nazis and determining to do something about it (which the United States never did), it’s also got a nice ending telling mothers their place is to send their children to certain death. Watch on the Rhine is an odd piece of propaganda. First, it’s a little too late. The film came out in 1943 and the events take place in 1940. It’s selling a particular false history. The play–from co-screenwriter Lillian Hellman, Dashiell Hammett gets the main credit–came out in 1940, so I suppose it was at least honest… Second, the film’s a mash of a family drama, a play adaptation, and the propaganda. The first quarter of the film, until Bette Davis gets home with her German resistance fighter husband and oh-so-precious kids, is an amusing family drama. Lucile Watson, playing the matriarch, is absolutely fantastic, even if she is playing a metaphor for isolationist America. All of her scenes, as she gets excited for her returning daughter (Davis) and the grandchildren and the son-in-law she’s never met, make Watch on the Rhine something special. These scenes bring honest human emotion to even the most extraordinary circumstances.
Then, once Davis and her husband arrive (Paul Lukas, who’s saddled with some bad dialogue, but his performance is incredible–so incredible the word’s making its return here to The Stop Button to describe it) and the film changes. Davis has a number of monologues and, for a moment, the viewer forgets it’s a play adaptation and thinks she’s talking to her family. But the moment passes quickly because the shots never change. Director Herman Shumlin is the least exciting director I’ve seen recently. Watch on the Rhine, at times, positions itself like Casablanca, reminding just how important Michael Curtiz was to that film. It’s not a technicality, these lack of reaction shots, it’s the absence of the characters. The film is from the perspective of the family, of Watson and son Donald Woods, even from bad guy George Coulouris (who’s also great and brings a real sense of dread to Rhine). When there are no reaction shots, the film is floundering. Davis is good and her delivery of the monologues is good, but, in a film, monologues aren’t delivered. There are only three or four but they’re all important and Shumlin messes them all up.
Hammett’s dialogue ranges in quality. When it’s a bunch of Nazis talking shop, it’s fine. When it’s the romance subplot… it’s not. From his IMDb filmography, it looks like his only credited screenwriting credit. He’s particularly bad–this might be from Hellman’s play, I don’t know–with the children’s dialogue. While they’re supposed to be wise beyond their years (as children of a resistance fighter), they’ve also got a lot of cute dialogue. And the eldest son, Donald Buka, has an important part and Buka’s awful.
Obviously, Rhine’s worth watching for the lead performances–particularly Lukas and Watson–but it doesn’t deliver the flawed film the first act promises. It wouldn’t have been perfect, but it would have been special.
Directed by Herman Shumlin; screenplay by Dashiell Hammett and Lillian Hellman, from a play by Hellman; directors of photography, Merrit B. Gerstad and Hal Mohr; edited by Rudi Fehr; music by Max Steiner; produced by Hal B. Wallis; released by Warner Bros.
Starring Bette Davis (Sara Muller), Paul Lukas (Kurt Muller), Geraldine Fitzgerald (Fanny Farrelly), Lucile Watson (Fanny Farrelly), Beulah Bondi (Anise), George Coulouris (Teck de Brancovis), Donald Woods (David Farrelly), Henry Daniell (Phili Von Ramme), Eric Roberts (Bodo) and Donald Buka (Joshua).
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