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By
WADE GOSSETT
Deborah Kerr, in a role that garnered her an award from the New York Film Critics Circle and
convinced MGM to sign her up as a contract player, stars as Bridie Quilty, a nationalistic, quick-tempered and naive
daughter of Ireland who gets involved with Nazi spies. Yes, Nazi spies, whom she tries to help against Britain.
Having been influenced by the tall tales her father often used to regale his Guinness-drinking buddies, Bridie grows up
hating all things British. Filled with delusions of heroism, she leaves her hometown and tries to join the IRA but ends
up as a Nazi spy. Part of her mission becomes to romance British officer (Trevor Howard) who eventually falls in love
with her and helps her escape the British authorities.
An oddity by any measure, the 1946 film is an improbable attempt to made a comedy out of the mess Britain has created
with its long occupation of Ireland, the IRA, and the sympathy some of the Irish felt toward the Germans during WWII by
virtue of having a common enemy. While it works as a farce and its appeal for fans of Kerr, Howard and black-and-white
British comedies is obvious, the film made me feel a little queasy: I couldn't shake the feeling that this is a film
where at least one unrepentant Nazi is depicted as sympathetic and even heroic. Plus, when you think about it, Howard is
committing treason in helping Kerr. I know, I know it's just a movie, but I really don't think there was anything funny
about the Nazis (the only exception being the Franz Liebkind character in Mel Brooks' "The Producers").
The image is clear, and full screen (its original aspect ratio). There are no extra features of note. |
