Assassination seemed so easy . . . at first!
UK / 107 minutes / bw / Anthony Asquith, Lynx, British Lion Dir: Anthony Asquith Pr: Anthony Havelock-Allan Scr: Paul Dehn, George St. George Story: Donald C. Downes Cine: Desmond Dickinson Cast: Eddie Albert, Paul Massie, Lillian Gish, James Robertson Justice, Leslie French, Irene Worth, John Crawford, Lionel Jeffries, Nicholas Phipps, Jacques Brunius, Robert Henderson, Miki Iveria, Lillabea Gifford, Anne Blake, Sam Kydd, William E. Greene.
“The central story on which this film is based is true,” reads a line in the opening credits of Orders to Kill, an offering that starts out as an orthodox war movie but then ventures far farther into noirish territory, both thematically and in visual style, than do most UK films noirs of the era.
It’s Boston in 1944, and the French officer Commandant Morand (Brunius) conveys to two of his US opposite numbers, Major Kimball (Crawford) and Colonel Snyder (Henderson), that there appears to be a traitor in a Paris cell of the French Resistance. The two US officers determine to send Gene Summers (Massie)—a fighter–bomber pilot recently demobbed because of injury and exhaustion who before the war lived some while in Paris, gaining fluent French—to murder the suspected traitor, a process server named Marcel Lafitte (French).
Commandant Morand (Jacques Brunius) reports the apparent betrayal . . .
. . . to Major Kimball (John Crawford, left) and Colonel Snyder (Robert Henderson).
Gene (Paul Massie) reckons he can easily cope with the challenge.
Overseen by his handler, Major “Mac” MacMahon (Albert), Gene is sent to be trained as a spy and an assassin under the tutelage of an unnamed Naval Commander (Justice). He’s taught how to slay Germans without wasting bullets, how to invent lies that will hold up under interrogation and even torture, and so on.
James Robertson Justice excels in the role of the unnamed naval commander primarily responsible for training Gene (Paul Massie).
It’s during this section of Orders to Kill that we realize that what we’re watching is less a war movie, however quirky, than a noirish piece. For me the transition became apparent with Continue reading