The Captive Heart

Synopsis: After the evacuation at Dunkirk, June 1940, some thousands of British prisoners are sent to German P.O.W. camps. One such group includes "Capt. Geoffrey Mitchell," a concentration-camp escapee who assumed the identity of a dead British officer. To avoid exposure, "Mitchell" must correspond with the dead man's estranged wife Celia. But eventual exposure seems certain, and the men must find a way to get him out. If he reaches England, though, what will his reception be?
Genre: Drama, War
Director(s): Basil Dearden
Production: Ealing Studios
  1 nomination.
 
IMDB:
7.1
APPROVED
Year:
1946
86 min
68 Views


This film is dedicated to prisoners of war.

Their unbroken spirit is the

symbol of a moral victory

for which no bells have pealed.

And which will

not be remembered

with the battle names on

regimental colors.

It was a war in which

no decorations could be given,

but to have come out of it

with a whole spirit

is its highest honor.

These are a few of those men

captured in the summer of 1940.

They were the men who

stood on the Dial,

the Somme,

and the La Basi Canal,

who fought at Calais,

April, St. Valery,

and the vital perimeter around

the Beaches of Dunkirk,

the men who held on until the German armor

thundered past their lines.

220 miles they marched

into captivity,

through that blazing, gusty June,

through France, through Belgium,

through Holland,

to the Rhine.

Ahh...

Beer isn't what

it used to be.

I hope the French beer isn't what

it used to be, either.

Remember the last time, Ted?

Yeah, I remember something

better than beer, too.

Ooh, she was

a smasher.

I can see her

hair now,

blacker than coal.

Ooh, boy! She taught

me a thing or two.

Pity you kept it to yourself.

It's proud we should be married

to a couple of Don Juans.

Don't believe a girl

ever looked at him twice.

Poor old dear.

Yes, you looked twice, didn't you?

You caught me off me guard.

I was low following the flu.

Wonder what made you marry me.

You don't know?

That wicked tenor voice you have.

Leave them.

That's men tend to that.

Any more for any more?

No, thank you.

It's nearly 12:
00.

We've got to be at the depot at 7:00.

Come on home...

we'll have 'em both back

before you can turn round.

War will be over

by Christmas.

War will be over

by Christmas?

Where have I heard

that before?

It's a shame we got to

close the business.

Why, it's just habit

we've got into,

fighting the same war

every 20 years.

Nasty habit, too.

Good night, Flo.

Good night.

See you in the morning.

All right.

She's a troubled worrier...

Shame she never had kids.

And her always wanting them so much.

They'd have took her mind off things.

Well, it's too late now, I suppose.

Are you sorry Glad and Mary are grown up?

Well, I am and I'm not,

in a manner of speaking.

What about starting

all over again, old girl?

No, thank you, Ted.

I'm too old for that kind of war work.

Ha ha ha!

Thanks, Stephen.

I liked that a lot.

The boy definitely shows promise.

Nearly 1:
00.

May I catch a lift?

Yes, of course.

Come on, Carol.

Put your bonnet on.

Cheerio, Stephen.

See you before you embark.

Right-o, Robert.

Good-bye, Stephen, darling.

Take care of yourself.

Good night.

Well, wait for me.

Stephen.

Come on, Carol!

All right, Robert!

Caroline.

Caroline!

Caroline!

Stephen.

Caroline.

You left your scarf.

I know.

I had to come back.

Robert.

What about him?

I wanted to tell you.

It's all over with Robert.

I think he understands.

I told him 3 weeks ago.

We met 3 weeks ago.

I wasn't sure until tonight.

Caroline.

You've only 48 hours

before you go to France.

It's nothing and it's everything.

Everything.

I hope you know how

to get a special license.

And don't forget to write, David.

Yes, Mum.

And let us know if there's

anything you want.

Thank you, Mrs. McDougall.

Will you write to me, Elspeth?

David, I will.

You see, I...

Yes, David.

Good-bye, David.

Good-bye, David, my boy.

Good-bye, Mother.

Take care of yourself, David.

Yes, Mrs. McDougall.

Elspeth, you see, I...

Me too, David.

What did you say?

I love you.

Elspeth. Elspeth,

will you marry me?

Yes, David!

What's he talking about?

Sorry.

I've no idea.

Can I be of any help?

Do you speak German?

Good.

He says the officers must be

separated from the men.

But we must keep the wounded with us.

We've only got one M.O.

Among the lot of us.

He says they may stay with us

till we reach the camp.

Thank you.

Anyway, a lot of them will remain

automatically on the orderlies'...

That's right.

Well, come on, lads.

In we go.

How's tricks,?

Mustn't grumble, sir.

You'll feel better

with a...

Thank you, sir.

I don't know that you ought

to smoke with that chest.

Oh, it's nothing.

Wound's practically healed.

It's a pretty bad show all around.

I take it you fellows feel the same as I do.

We mustn't let the Jerries see we're down.

Take the Jerries to get me down?

It's them ruddy cobbles.

What can I do for my feet, sir?

Do what I do.

Try to forget 'em.

I can't take 'em off, can I?

How are you, Lennox?

Eyes hurting you a bit?

A wee bit, sir.

We'll get the Jerries to give you

some proper treatment

As soon as we reach camp.

Thank you, sir.

How about you?

Mustn't grumble.

You okay?

Not too bad.

How's the arm?

Feels better now,

sir.

Good boy.

All right, lads.

It won't be long now.

Then you'll be able to have a real rest.

Thanks for the help just now.

Useful man to know.

Perfect German.

Dalrymple's my name.

31st Lancers.

Geoffrey Mitchell,

5th Oxfordshire light infantry.

Oh, where did the

Jerries pick you up?

Oh, really? I didn't know the 5th

were anywhere near there.

Yes.

March to attention!

Good afternoon.

Good afternoon.

Do sit down, would you?

Thank you.

My name's Celia mitchell.

I've heard my husband may

be a prisoner of war...

Captain Geoffrey Mitchell.

Maybe. Didn't the war office

notify you, Mrs. Mitchell?

Well, no, you see, I don't suppose

he put me down as next of kin.

Oh, I beg your pardon.

Your husband's regiment?

5th Oxford

light infantry.

General index. Give me particulars

of Captain Geoffrey Mitchell,

5th Oxfordshire

light infantry, will you?

I'd like to send him parcels.

I suppose I can do that.

Oh, yes, certainly.

...flag 27.

Prisoner of war number 1376.

Thank you.

Hello, Mummy!

Hello, darling.

Have you had a lovely day

with Grandpa?

Will Father ever come back to us,

Grandpa,

Even when the war's over?

Well, would you be glad if he did?

No. He used to make Mummy cry.

He is a prisoner.

Hello, Desmond.

Hello, Mummy.

Janet, I'll leave you in charge.

Well?

He didn't put me down as next of kin.

Well, that seems to be the final gesture,

doesn't it, my dear?

It was only logical, I suppose.

Poor Geoffrey.

Poor Geoffrey?

Well, I for one don't intend to shed

any tears over him.

Father?

I'm going to write to him.

You are?

Yes.

Can't do any harm or good.

They must be glad

of any news of home.

I don't suppose poor Geoffrey

ever portrayed

the faintest interest in his home.

I can tell him how the children

are getting on.

I can see Geoffrey regaling

his fellow prisoners

with news of the children he's

scarcely ever seen.

You're afraid, aren't you, Father?

Certainly. I'm afraid that you may let

yourself be carried away

by sentimentality and suggest

patching things up with him.

Don't worry.

We said so many hard,

cruel things to each other.

I'd like to wipe out

the memory of them.

And then if we should happen to meet

when the war's over,

it won't be as enemies.

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Angus MacPhail

Angus MacPhail (8 April 1903 – 22 April 1962) was an English screenwriter, active from the late 1920s, who is best remembered for his work with Alfred Hitchcock.He was born in London and educated at Westminster School and Trinity Hall, Cambridge where he studied English and edited Granta. He first worked in the film business in 1926 writing subtitles for silent films. He then began writing his own scenarios for Gaumont British Studios and later Ealing Studios under Sir Michael Balcon. During World War II he made films for the Ministry of Information. One of Alfred Hitchcock’s favourite devices for driving the plots of his stories and creating suspense was what he called the MacGuffin. Ivor Montagu, who worked with Hitchcock on several of his British films, attributes the coining of the term to MacPhail. more…

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