User reviews

Having served in the US Army-Europe in Germany it was easy to see that this work was an accurate depiction of the world as Germans saw it in those years. Going to the IMDb database confirmed that it was filmed in Wurzberg, a city I visited many times. One can not help but wonder what memories and nightmares came back to life for the German people in this movie, or the ones who viewed it, or even witnessed the movie being made. The film is so very realistic in script, acting, and setting that some must have almost thought WWII was alive again. For those that lived through WWII in that country it must have seemed as if those days were repeating themselves. Every detail of this movie is accurate as far as I could tell. It does not employ overused stereotypes, no action heroes, no earth shaking grand and glorious finale, it simply depicts a period of time in all its' tragedy and irony in a most realistic manner. This work deserves more praise and exposure than it has received. A must see for every WWII researcher and historian.

As American forces approach Germany near the end of World War II, it becomes crucial for them to get an idea of the Germans' capacity to resist. In order to do that, they recruit spies from among German POWs, train them and send them into Germany to gather information. This is somewhat of an unusual film about a subject that, as far as I know, had never been dealt with before or since (the movie is based on fact; American military intelligence did indeed use German POWs as spies). The location filming helps the picture greatly, as the war had only been over for a few years and Germany still hadn't rebuilt yet. Performances are universally top notch, notably Oskar Werner as a young German soldier code-named Happy who volunteers to return as a spy, and especially Hans Christian Blech as Happy's tough, opportunistic, and not entirely trustworthy partner. There are some nail-biting moments, notably aboard a train when Happy and his partner come under scrutiny by a suspicious Gestapo agent. The film has a tough, gritty, dangerous look that is totally atypical of the usual 20th Century Fox gloss, and is all the better for it. Gary Merrill as the tough American officer in charge of the operation, and Richard Basehart as an American agent sent in to accompany the two German spies, also turn in first-rate performances, and director Anatole Litvak keeps the film full of twists and surprises, but it's Oskar Werner's show, and he is up to it. An excellent film and one to put on your must-see list.

Surprisingly good war film unknown to me before I saw it on American Movie Classics. Cast is excellent. Characters are well-drawn. The film is the best portrayal I have yet seen on celluloid of Germany in its stages of final collapse as the end of WWII nears. Some very impressive interiors are beautifully shot - the cathedral that serves as intelligence hq, and the castle or chateau that is the German command hq. Engrossing story of conflicted loyalties, and good action and suspense as well. I can only add my agreement with the positive comments already entered.

A taut story, first-rate acting, and a compelling subject make this film worth seeing.

Espionage/spying is a tricky subject, but "Decision Before Dawn" handles it brilliantly. No flash, no Mata Haris, no absurd coincidences. Weaving human drama and the grim realism of war, this film is that rare gem that manages to teach without preaching.

Among the superb performances is our hero Happy, played with just the right blend of suspense and humanity by Oskar Werner. Happy (an ironic name given to him by his American overseers) is torn between love of his native land and his duty to what is right. Werner walks this tightrope better than most I've seen.

In the end, however, it's the script that is the true gem of the film. Peter Viertel is a master story teller, with such great screenplays as "Saboteur" and "The Hard Way" to his credit. Viertel, with a story by author George Howe, weaves an intricate, but not confusing, narrative of war and devotion and duty. He's one of the few _writers_ I look for when I check out "On TV This Week" on IMDB.

The movie puts you in WWII's closing days as you watch an idealistic young German Army medic become a traitor to his country by working as a spy in order to let the war end quickly and let peace return. The movie extras are former German soldiers, and you can tell by how they wear their "rag tag" uniforms and bark out commands in German. The scenes are superb. Bombed out areas of Germany were used, and one scene in a bombed out theater is especially great. You hear the falling glass and metal structures as the Gestopo search for the soldier. It is simply a very entertaining movie that lets one ponder: What would I have done if I were in his place?

Occasionally I rate a film high for personal and sentimental reasons. In this case I am compelled by objective facts to add in the light of greater perspective that I consider this one of the best war movies of all time.

In the first place, the acting is superb. The casting is flawless. The direction is taut, as is the editing. It is filmed in black and white, as it would have to be even today if someone wanted to try a remake. The locations and sets are authentic to a "T." The story itself follows faithfully the text of a book I read as a child (before I saw the film, in fact).

Moreover, I consider it an act of bravery on the part of the film's producers even to begin a project like this so soon after the end of World War II, when passions against the Germans were still running high and mere caricatures of that nation's common people remained the standard for the day (and for years to come).

Oskar Werner in the main role was a brilliant choice, and veterans Richard Basehart and Gary Merrill provide ample evidence that casting proceeded on a basis of resolute excellence and authenticity. I am still blown away by revisiting the "Romantic Road" in Germany and thinking how this movie defined and continued to define for me how recent and ancient history converged along that path.

I cannot praise it enough.

I saw this movie recently on AMC, and was extremely impressed. It was filmed on location only a few years after the end of the war, and uses the bombed-out scenery to brilliant advantage. I agree with all of the previous comments, and wonder why this film is not available on DVD or video. I was so intrigued by the story that I found a copy of the book on which it was based over the internet, "Call it Treason" by George Howe. I just finished it, and I enthusiastically recommend the book,it's worth searching for (out of print.) I wish there were more books and movies like this around....

Although Richard Basehart is top-billed and his observations bookend the film, the real star is Oskar Werner - beset as usual with doubts - as the ironically nicknamed 'Happy'.

Like earlier Hollywood productions shot in Germany, this adaptation of George Howe's novel 'Call It Treason' (1949) goes for a harsh, monochromatic realism. Unlike them it's actually set back during the war itself from the point of view of the Germans themselves (most of the supporting cast consisting of authentic locals, including fleeting glimpses of youthful versions of Klaus Kinski and Gert Frobe) at the point when it had finally sunk in on the majority of them just what a terrible mistake they had made in electing Hitler.

Close to the end of WW2, the US military recruits Nazi defectors from the ranks of German POW's to return to Germany as spies. Klaus Kinski makes a brief appearance during the interview process, but his character is rejected. Who is accepted to participate in this mission is incomparable Oskar Werner as Corporal Karl Maurer who is given the code name Happy. It's an ironic name for such a serious actor. He's perfect for the part in this heavy film set largely in the destruction of bombed out cities. Such a setting makes it difficult for the Germans to actually capture him, as when they are on to his trail, the aerial Allied bombings begin again. There are lots of places to hide amidst the treacherous ruins of the near collapsing buildings.Yet the Germans try to maintain discipline to the very end, as a deserter is hanged and his body is left for all to see. The film uses the destruction in which it is set and reminds us of how things change when the peace time environment becomes lost amidst the destruction. Werner goes through several meetings with Germans, the best being the Colonel who orders the deserter to be hanged, and another with the tragic character played by Hildegard Knef, whom he meets in a bar. Amidst the desperation still lurks a couple of true Nazi believers, one played quite well by Wilfred Seyferth as Heinz Scholtz, a dangerous SS man who befriends the traitor Werner. The film is overwhelmingly stark and lacks any sense of humor whatsoever, but in my book that just adds to the overall effect, much like some of the Cold War era spy films, such as The Spy Who Came In From The Cold.

US army recruits Nazi soldiers to infliltrate enemy territory to take information for the Allied troops. As they recruit two spies who are nicknamed Tiger : Hans Christian Blech and Happy : Oskar Werner . Later on , Tiger and an American officer : Richard Basehart are stealthily infiltrated in Nazi territory and Happy is parachuted near Munich, their assignment : to gather information by discovering the whereabouts of a German regiment moving to West front and threatening the allied advance . While the cruel Gestapo carries out a merciless pursuit of deserters , capturing suspect spies and submitting them to firing squad. A woman's Kiss...a lighted cigarette. Each had its meaning! A stirring and realist story of war of German prisoners sent back their own lines of agents of the Allies ¡

An interesting and thrilling picture about a peculiar subject , Nazis collaborating with US Army, it is tense , intriguing and well paced . Special mention for the realist and breathtaking production design , being shot on location in authentic places with large areas really bombed , detritus , rubbish and buildings have not been reconstructed yet . Being based on a real story and a novel written by George Howe , competently adapted by Peter Viertel. Well starred by Oskar Werner who in real life also deserted from the Wehrmacht and Richard Basehart as Lieutenant Rennick . Along with a nice plethora of secondaries as Gary Merrill , Hidegard Knef , Dominique Blanchard , O.E. Hasse , and brief appearances from Klaus Kinski , Gert Frobe , among others .

Exceptional cinematography in Black and White by Franz Planer . And evocative and moving musical score by Franz Waxman. The picture was competently directed by Anatole Litvak. He was born in Ukraine and stayed in Germany working . Anatole moved to France and directed Mayerling with Charles Boyer , Danielle Darrieux . His first Hollywood movie was The Woman I Love 1937 , and made a wide variety of subjects , from sophisticated comedy as Tovarich 1937 to historical drama as Anastasia 1956 , romance as All this and Heaven Too 1940 , crime drama as Dr Clitterhouse with Edward G Robinson and Humphrey Bogart and two tough thrillers starring John Garfield : Castle on the Hudson 1940 and Out of the Fog 1941 . Having become an American citizen , Litvak enlisted in the US army and collaborated with William Wyler in "Why we fight" series of WWII documentaries. Arguably his best films were the Thriller " Sorry wrong the Number" and the splendid psychological drama "The Snake Pit" 1948 , Hollywood's first attempt to seriously examine the treatment of mental illness . Rating : 7.5/10 . Better than average . Well worth watching . Essential and indispensable seeing for WWII enthusiasts .

For anyone who is used to freedom, this movie shows better than any other what it is like to live in a total police state. The Thousand-Year Reich is shown with every wart and blemish, making this one of the greatest propaganda movies for freedom. But it is a harrowing experience, a true thriller. For the life of me, I cannot understand why this film is not better known and why it is hardly available in public libraries. Could this reflect the conservative, McCarthyite influence on movies? I think it is a must-see.

Decision Before Dawn starts off really slow, but if you like old war movies, stick with it. The last half hour is very exciting and intense. The basic premise takes place at the tail end of the war. The Americans in charge of a POW camp are given orders to use some of the motivated Germans as spies. Not everyone's in favor of it, especially Richard Basehart, but Gary Merrill carries out his orders anyway.

There are two really memorable parts of this movie: the scenery and a new face to the American screen. Oskar Werner, a German actor who gained instant popularity that lasted until his death in 1976, made his debut in Decision Before Dawn as one of the POWs who happily switches over to the other side. Once the action picks up, after the first forty-five minutes or so, you won't be able to take your eyes off Oskar or keep from worrying about him. As to the scenery, it was one of the rare Hollywood films made that showed the wreckage done to Germany during the war. Many European films showed the ruins, but since we won, Americans tended to gloss over it and focus on brighter let's-visit-Europe flicks like Three Coins in the Fountain. When you see crumbled buildings and rubble in the streets from bombings in this movie, they're real.

If you generally enjoy a good war picture and you have patience, you can try this one out. It will make an impression when it's all over; you'll just need to give it time to get there.

Probably the most realistic WW II war movies made. Most of the extras are real German POWs, all german actors were ex German soldiers. The uniforms, helmets, weapons etc. are authentic and accurate. The film was filmed in post war Germany, the bombed out street scenes are the real thing! The film is even somewhat sympathetic towards Germans which could not have been popular that soon after war.

The plot is intriguing; a young German POW decides to help the allied effort to end WWII by becoming a spy. After he is dropped behind German lines in a snowy Bavaria with the sole task to locate the whereabouts of a Panzerdivision, we follow his route to the Rhine in a destroyed, disintegrating, desolate Germany, where only the Gestapo is functioning effectively. With the beautiful work of the camera the grimness of the bombed Germany becomes a backdrop to the soldier's moral dilemma of becoming a spy against his Fatherland. This conflict is well accentuated. This is a great movie, probably the best "real" spy movie I have seen.

And simply the best of its kind on the subject. All the more remarkable for "a Hollywood production," but for my money it might as well be "a foreign film." I agree with the user who thought it took courage to make this.

If I had to focus on the screenful of superlatives, it would be on Litvak's direction, the acting by all and by a young Oskar Werner without question (Stateside viewers may also recognize Herren Blech and Hasse as well as Frau Knef), the photography, and of course the story. Note the film's at-first subtle transition that begins with Happy's re-insertion. Afterwards, view Bernhard Wicki's "Die Bruecke."

A note to the user who gently griped over the perceived inaccuracy of shooters: Try that while standing in a wind tunnel and you'll have some small idea of the challenge posed by a contemporaneous bombing raid. At least they weren't standing beneath trees...

(UPDATE: Seek, find and read "Call It Treason," a novel by George Howe dedicated "To Happy 1925--1945.")

A WWII yarn about a German prisoner (Oskar Werner) who volunteers himself for spy work in the front lines during the waning days of the European conflict. He's sent off on a mission that also involves another German spy and an American radio man (Richard Basehart). While carrying it out, he suffers a crisis of conscience, torn between his allegiance to his home country and his belief that the best way to help his people is to help the Americans wipe out Hitler's regime.

"Decision Before Dawn" is an entertaining spy thriller that benefits from its authentic, on location shooting amid bombed out European villages. But it could have been a much more interesting film had its moral conflicts been given more air time. It then would have been like something from Graham Greene. Unfortunately, Werner's crisis isn't shown to us as much as it's told to us in a few moments of voice over. Werner himself gives a good performance with the material he's given to work with, but it's tough to shake off the feeling of missed opportunity that surrounds the role.

Speaking of Graham Greene, the film's finale is a chase through the rubble of a German town, and it's reminiscent of "The Third Man," but this one feels slightly dogged when compared to that other film's sense of funhouse excitement.

Also starring Gary Merrill as the leader of the American mission, and Hildegard Knef in a brief but memorable role as a possible romantic complication for Werner.

Grade: B+

Having just finished watching this film, as well as reading the previous reviews and agreeing with most all of what has been said, I have a quibble and a comment. The quibble first: The only blemish on an otherwise outstandingly cast movie was Wilfried Seyferth's SS Mann Scholtz. Even in late 1944 / early 1945, one would not have found this Sgt. Schultz style caricature in the ranks of the Schutzstaffel. True, the SS had lowered their standards, but never to that level! This is a criticism based not on some sort of personal preference, but rather on the fact that this fat, slovenly stereotype lacked credibility, and therefore the requisite menace.

As for the comment: Several reviewers have expressed surprise over the seemingly objective, even-handed view of the Germans presented so shortly after the war. Against all expectations, this was more the rule rather than the exception at that time. There was a brief window of clarity of observation that seems to have opened between the time of this film and the early 1960s. Sadly, rather than expand, this shut down in the late 60s, never to re-open to this day. The reason for this has never been clear to me, but I suspect that the continued demonization of the Germans of that period has become something of an industry. ( See almost anything by Stephen Spielberg. ) That said, I add to the general consensus that this is a gem well worth seeking out. Hopefully, MAX (AC) will run it again, soon.

Nice war movie from the old Hollywood school. Pretty modern style of filming, if movie wasn't black and white the one could say that it was from the last decades. Just a fast talking acting style of one or two actors that is typical for the beginning of the Sound film era in Hollywood makes you aware on how this movie really old is. Clever camera, fast and engaging rhythm, tense as a thriller at the times. Pretty convincing acting, very good casting and fantastic war recreation for that time, city in ruins and AA guns look like real. Film is ruined by German characters speaking English language with German accents, making the good actors look like clowns and the whole film like some History Channel show. Also, definition of the main character in the film is somehow lost until the end itself since there is no interaction between separate stories of the characters during the whole film, we are losing two of three main heroes for the whole hour. Worth to mention that movie is pushing strong American propaganda stereotype established by its father Franc Capra: There is no "Prelude to war" hear, but the reason "Why we fought" and black and white distinguishing of good and bad made by the winners. Or should I say one of the winners, since this film as many others made in that era ignores by all means the others (especially Soviet Union - country which really military defeated Nazi Germany) on the very careful and clever way. 7 out of 10, recommended.