Contraband (1940)

"Contraband" is a Powell/Pressburger collaboration, and a lot of the techniques they use are reminiscent of later films, such as the 49th Parallel and "The Red Shoes."The story concerns a Dane, Captain Anderson (Conrad Veidt) on a freighter that is stopped for inspection by a British warship. He asks for passes for himself and his first officer, but when he is ready to leave, he finds that the passes have been stolen by two passengers, Mrs. Sorenson (Valerie Hobson) and Mr. Pidgeon (Esmond Knight). He rows to shore and finds Mrs. Sorenson and decides to stick to her like glue. Before long he's involved with a German spy ring.This is a good film with both Veidt and Hobson giving wonderful performances. They have good chemistry and the script gives them the opportunity for some repartee. The background of the movie is interesting. One message was to to elicit compassion from the Scandinavians, as they emerge here as the heroes. Obviously it was before Denmark was invaded, and the British hoped to have their help. The last scenes are quite exciting. This doesn't come up to a 39 Steps but it's still enjoyable.

"Contraband" has been frequently compared to the works of Hitchcock, which is no surprise. There is an air of suspense and danger as the two main characters, Captain Andersen (Conrad Veidt) and Mrs. Sorensen (Valerie Hobson), traverse a British city in the darkness of a wartime blackout. The viewer is asked to accompany them, never quite knowing what forces are at play or who are the "good guys". The film also feels a little like "Casablanca", with shadowy, nefarious forces at work while the couple is drawn together emotionally.Also, like Hitchcock, there is a very playful side to the action. The manners of society are observed while threatening subtexts are played out. Andersen and Sorensen, likewise--in the early part of the film--play a cat-and-mouse game that is enjoyable to watch.The mechanics of the plot don't seem to matter much, like one of Hitchcock's McGuffins, and the photography seems more about style than substance. Filmed in B&W, of course, the story slinks in and out of darkened passageways, foggy ports and backrooms.This film is a lot of fun to watch, especially if one just enjoys the action without trying to decipher the finer points of the intrigue.

Conrad Veidt (Captain Andersen) is the skipper of a Danish boat that has been intercepted by the British and brought to dock in England while the cargo is processed. An overnight stay is required before he can proceed. He is also carrying passengers and he makes it his business that they do not abscond overnight. His mission is to deliver his cargo and not to lose any passengers. This, above all else. Well, Valerie Hobson (Mrs Sorensen) and Esmond Knight (Mr Pidgeon) have other plans, and duly abscond. Veidt has one night to track them down and ensure that they are back on his ship when it is due to sail in the morning.This film has an alternate title of "Blackout" and it's very significant seeing that you can't see what's going on during several scenes. It's a shame because it's an engaging spy story. Conrad Veidt is excellent in the lead – he is very much his own man, and manages to draw some humour out of his arrogant portrayal making him likable. He is loyal to his principles and that is to be admired. He gets some funny dialogue as well as throwing in some nice touches such as when he rows ashore to begin his chase, and he keeps repeating the name of Mr Pidgeon. With each pull of the oar we hear "Mr Pidgeon". It's funny and you know that it is really annoying him! However, set against this, the film is marred by silly comedy sections that always seem to include Hay Petrie in a dual role of brothers. The film really did not need him, yet alone two of him. Aaargh. Lose points for that, I'm afraid.You can tell that this is a fun, spy story with some tense moments. However, the tension is taken away because you can't see the blasted thing and there is way too much comedy.

The advertisement about this film from Kino Video led me to think I was going to see an exciting spy story with noirish overtones and a Hitchcockian twist.It is nothing of the sort.If Hitchcock had made this film, smooth, suave Cary Grant would have had the lead, and he would have been opposite a cool, sophisticated blonde. Before the film had ended, Grant would have melted her coolness for a final kiss or, as in "North By Northwest," an implication of sexual surrender.Here we are asked to accept Conrad Veidt, at age 47 and looking every year of it just three years before his death, in the Cary Grant role and Valerie Hobson, twenty-four years his junior, in the cool blonde part. There is just about no one further removed from Cary Grant than Conrad Veidt. However, it was interesting to see him playing someone other than a villain, but at the same time, I realized that such roles were his forte.Of course, Valerie Hobson isn't blond. And here she looked like Merle Oberon and acted as stiffly. There were absolutely no sparks between Hobson and Veidt, to say nothing of the dialogue which was totally unwitty and without any double entendres. I suspect that Kino's publicity about the Hitchcockian touch had in mind Hitchcock's "The 39 Steps," where Robert Donat and Madeleine Carroll must put up with each other against their wills.I cared nothing for the characters. The film had no narrative thrust (what happens next?). It was a total waste of my time.