The Captive Heart Page #7

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
66 Views


only one wire to cut.

Yes, but what about

the perimeter lights?

They always put them out

when there's an air raid.

And they've been as

regular as clockwork lately.

Gosh, I believe

we've got something.

Suppose we do

get the list. What then?

I can type.

Scratch out one of

the names beginning with M

and type Mitchell's

on instead.

Just a minute.

Don't you see,

the chap whose name goes off

has to stay behind.

Well, uh, my name

begins with M, sir.

You'd really give up

your ticket home?

Why not?

But I thought

all the girls were lining up

for you to come home?

Well, so they are.

But they'll wait.

You are a sportsman.

Gentleman,

we'll have a snack.

Now, as I see it,

the drill is this...

# My eyes are clear,

I cannot see #

# I have not brought my... #

Here come the boys.

Bang on the dot.

What do you mean?

Well, just another raid,

old boy.

All right, chaps,

lights out and sing out.

Well, they had

better start.

I know. God bless

the R.A.F.

Here he is.

Good boy.

Look out!

All clear.

That's the lock

you've got to pick.

Good, there's a typewriter.

Get down!

Type on the floor.

It's tougher than I thought.

Let me try.

Must be a bit out of practice.

I'll say.

Good, this is it.

Sing, you so-and-sos, sing!

- That'll do.

- Come on.

That'll fool 'em.

Let's split up and get back

to our own huts.

Ok, sir.

What's going on?

You're not supposed

to know.

The boys were out there

putting your name

on the repatriation list.

Darn.

You will all remain here

until the other huts have been checked!

Permission to go home, sir?

Yes, provided you put

a... for me.

It's you that ought

to be going home.

Oh, don't you believe it.

I'm a social parasite.

The sort we're fighting

to get rid of.

That's right.

I've got to stay here

and exterminate him.

Ha ha.

Go slow with the...

Don't forget

to save a couple of

peach-fed blondes

for your Uncle Jim.

That's a promise.

Oh, I was kidding.

You're one of those

one-woman blokes, aren't you?

Yes, that's my trouble.

Sorry, then.

Always putting my foot in it.

Don't forget to tell the girls round

Hammersmith Way

that I'll be home

soon and I've got

plenty saved up

to give them a treat with.

Yeah, you bet.

I'm gonna keep

my job warm for you.

Horsfall, Evans,

and Mathews.

Unlimited.

Hello, Mathews.

Feeling all right?

Yes, it's all right, sir.

I was a sissy

passing out like that.

I can never thank you

for what you've done.

Well, forget it. Just keep your head

down on the parade

And pop your uncle.

- Thanks.

- Don't worry, sir.

You'll get through all right.

We'll be right

behind you, sir.

One other thing.

What about the German M. O?

He's certain

to be on parade,

and he's more likely

than anyone

To remember that

Mitchell's name wasn't on the list.

I know.

I've thought of that.

I'm going to start up

a conversation with him

while they're

calling the names.

He only speaks

about a dozen words in English.

You leave it to me.

Hello, David, my boy.

Good-bye

and good luck.

Good-bye, sir,

and thank you all.

See you again before

you know where you are.

- Yes.

- Come on, David.

Don't forget.

We've got a bridge date tonight.

Don't forget the cigarettes

you owe me, padre.

Play you a double

at quits tonight, jim.

Ambrose.

Anderson.

Burns.

There are a lot of

things I'd like to say, but...

But I can't.

Go on.

Off you go.

Good-bye.

Good luck.

- So long, old boy.

- Good luck.

Keep out of

the German M.O.'s eyeline.

Grant.

Hanley.

Hunt.

Horsfall.

Jackson.

Jessop.

How soon do you think

the war will end now, doctor?

6 months or one year

if you're light.

By then, you'll be

speaking fluent English.

You think I've made

good progression?

Oh, terrific.

Ha ha.

Yes, you Germans

certainly have

the gift for languages.

You think so.

Of course.

Yes. Ha ha.

After the war,

they make me

headmaster of

Oxford University.

Mitchell.

Miter.

Acton. Ashe.

# For the gang's all here #

I'm sorry, madam,

but you can't go in.

I must.

It's my husband.

Please.

Excuse me.

Excuse me.

What's happened to

the iron gate, Mother?

It went for salvage

2 years ago.

I'll miss the squeaking

of that old gate.

Have there been

any other changes?

No. I kept your room

exactly as it was

the day you went off

to France.

Same old smell.

Sunlight, soap,

and furniture polish.

You come in here

for a minute

and I'll get you

something to eat.

David.

Elspeth.

That last letter.

Your mother showed me.

Telling the truth

about your eyes.

So that was the reason.

The reason for what?

For breaking

our engagement.

But you can't go on

being engaged

when you're not

in love any longer.

You can't go on breaking

a person's heart

to satisfy your own

stupid pride.

I'm not prepared

to discuss the matter.

Neither am I.

David...

Why did you have to make me

so dreadfully unhappy?

Caroline.

But... but what are you...

There were some things

I left behind.

Caretaker let me in.

I had no idea.

I'll go now.

Caroline.

Yes, Stephen?

Are you all right?

Why are you crying?

Because I'm a fool.

Are you unhappy

with Robert?

I'm not with Robert.

Oh, Stephen.

Why did you have to

believe that idiot?

It wasn't true?

It wasn't true?

No. Not then.

Go on.

When I got your letter,

it was as if

all I'd ever believed in

didn't exist anymore.

I didn't care

what happened.

He was in love

with you?

Yes.

And you?

No.

Let me go now.

Please.

Listen, Caroline.

There, everything

seemed so...

so out of proportion.

I think I was mad

for a bit.

You see, I loved you

so desperately.

Still do.

Always shall.

Stephen.

Thanks, mate.

Thanks.

Well, this is it, Don.

Yes.

How do you feel?

Empty.

Empty inside.

Me, too, like it wasn't me

standing here at all.

Come on, Don.

Let's get weaving.

Hello, old girl.

Hello, Ted.

Doing you all right?

I'm seasick.

Stomach always was

your weakness.

Suits you.

Oh, Ted.

There, there.

I can't leave don out

in the cold like that.

Oh, don.

Hello, flo.

Oh, it's lovely

to see you.

Come on in.

- Where is she?

- In here.

Hello, Gwyneth.

Hello.

Do you know who I am?

Yes. You're my

Daddy, aren't you?

That's it.

Look.

I made this in

the prison camp for you.

Can she shut her eyes?

No, she can't.

My doll can.

She's lovely.

So that's settled.

Captain Hasek

reports to duty

to Czech headquarters.

There was something

I wanted to ask, sir.

About Mrs. Mitchell.

Oh, yes.

Very awkward, of course.

Don't worry, Captain Hasek.

We've got that

matter in hand.

I wanted

to suggest, sir,

as it's my responsibility,

that if the notification

of her husband's death

could be delayed until I've seen

Mrs. Mitchell myself.

She'll have to be told through

the usual channels, you know.

Yes, sir, but in

a case like this, it's...

War office will

look after it.

Or if you like,

go down and see her yourself.

There's nothing

to stop you.

I see.

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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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Submitted on August 05, 2018

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