After two Americans are killed while escaping from a German P.O.W. camp in World War II, the barracks black marketeer, J.J. Sefton, is suspected of being an informer.After two Americans are killed while escaping from a German P.O.W. camp in World War II, the barracks black marketeer, J.J. Sefton, is suspected of being an informer.After two Americans are killed while escaping from a German P.O.W. camp in World War II, the barracks black marketeer, J.J. Sefton, is suspected of being an informer.
- Won 1 Oscar
- 2 wins & 6 nominations total
Gil Stratton
- Sgt. Clarence Harvey 'Cookie' Cook
- (as Gil Stratton Jr.)
Storyline
Did you know
- TriviaWilliam Holden never felt he deserved an Oscar for his performance in this film. His wife felt it was to compensate for him not winning for "Sunset Boulevard (1950)."
- GoofsIn at least two scenes, German solders are seen using US Browning 30 cal. machine guns; some still think of it as an error, but the use of captured enemy equipment was common by all sides in the war. A POW compound would be the ideal place to locate captured weapons, with a relatively limited ammo supply, whilst they still served to deter escape.
- ConnectionsFeatured in Paramount Presents (1974)
- SoundtracksWhen Johnny Comes Marching Home
(1863) (uncredited)
Written by Louis Lambert
Played during the opening credits
Played on a record and sung by the prisoners of war
Whistled a bit by Gil Stratton at the end
Featured review
the perennial 'feel-good' American POW movie
Billy Wilder's Stalag 17 relies on folds of comedy and a cynical attitude to elevate a story that seems out of a crime novel. Here we have a cast of characters, and the undercurrent is 'who's the rat?' in a bunker as the secrets shuffled around (i.e. that there's a tunnel for escape) and the Germans know right away. There's fun in that, and in being able to 2nd guess who the informant really is- at one point I thought the old adage "it's the quiet ones you got to watch" would come forward- but Wilder is brilliant at transforming this as some solid suspense and dramatic tension while ALSO making a really snappy (sometimes) dark comedy. It's a movie about personality, despite the plot being somewhat important, and with the actors themselves delivering a lot for the characters' sakes.
William Holden is the first given attribute as the star, playing the sort who, for a conventional movie-goer audience, seems easy to peg: too full of himself, sneaky, has the motive to be the informant. But as the layers come into focus, he's more than meets the eye, and Holden (against his better instincts, as he didn't want the role originally) fills it in with his subtle swagger and great sarcastic touch carried over from Sunset Blvd. Then there's Otto Premminger, a big surprise as he is mostly known as a director, as the Commandant, taking up and stealing every scene he's in (only Erich von Stroheim in Grand Illusion beats him out as tour-de-force Commandants). Then there's supporting work from the desperate 'clowns' (Robert Strauss's Betty Grable obsessed Animal and Harvey Lembeck's Shapiro), and the cool Don Talyer in a turn as Dunbar. They're all at their best.
While it almost appears to be more entertaining than it perhaps should- considering, as Cookie's opening narration says, movies about the army have been glamorized and this story is different- it's kind of like the Hollywood 50s answer to something like A Man Escaped. Bresson's film is cold and detached and immediate in dramatic impact, while Stalag 17 wants to be a big hit. There's a lot of humor, some unexpected, some that are meant to be big laughs (i.e. Animal and Shapiro's scheme to get into the Russian prison), and they all connect. It's simply a really entertaining movie that has transcended its period, thanks to Wilder's faith in (and more than likely proponent of) an ironic, witty sensibility to otherwise dark and gloomy cinematic terrain.
William Holden is the first given attribute as the star, playing the sort who, for a conventional movie-goer audience, seems easy to peg: too full of himself, sneaky, has the motive to be the informant. But as the layers come into focus, he's more than meets the eye, and Holden (against his better instincts, as he didn't want the role originally) fills it in with his subtle swagger and great sarcastic touch carried over from Sunset Blvd. Then there's Otto Premminger, a big surprise as he is mostly known as a director, as the Commandant, taking up and stealing every scene he's in (only Erich von Stroheim in Grand Illusion beats him out as tour-de-force Commandants). Then there's supporting work from the desperate 'clowns' (Robert Strauss's Betty Grable obsessed Animal and Harvey Lembeck's Shapiro), and the cool Don Talyer in a turn as Dunbar. They're all at their best.
While it almost appears to be more entertaining than it perhaps should- considering, as Cookie's opening narration says, movies about the army have been glamorized and this story is different- it's kind of like the Hollywood 50s answer to something like A Man Escaped. Bresson's film is cold and detached and immediate in dramatic impact, while Stalag 17 wants to be a big hit. There's a lot of humor, some unexpected, some that are meant to be big laughs (i.e. Animal and Shapiro's scheme to get into the Russian prison), and they all connect. It's simply a really entertaining movie that has transcended its period, thanks to Wilder's faith in (and more than likely proponent of) an ironic, witty sensibility to otherwise dark and gloomy cinematic terrain.
Helpful•4210
- Quinoa1984
- Apr 8, 2008
- Permalink
Details
- Release date
- Country of origin
- Languages
- Also known as
- Infierno en la tierra
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $1,661,530 (estimated)
- Runtime2 hours
- Color
- Aspect ratio
- 1.37 : 1
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