Went the Day Well? Page #7

Synopsis: The residents of a British village during WWII welcome a platoon of soldiers who are to be billeted with them. The trusting residents then discover that the soldiers are Germans who proceed to hold the village captive.
Genre: Thriller, War
Director(s): Alberto Cavalcanti
Production: Rialto Pictures
 
IMDB:
7.6
Rotten Tomatoes:
100%
APPROVED
Year:
1942
92 min
Website
284 Views


- Easy, Joe.

What about the bell, like the vicar tried?

No, no, no. They've removed the clapper,

I heard them giving the instructions.

Don't forget we're counting on you,

Mr Wilsford.

Now, wait a minute, wait a minute.

When Harry Drew comes around with his van

in the morning, that's our big chance.

No need to wait till the morning,

it's dark enough to try the other way.

- What's that, Charlie?

- Down the boiler room

there's a kind of hedge

where we had the coke shot in.

Gives onto the bushes on the north side.

It's plenty wide enough

for a man to get through.

Wait till the guards are round the other

side and then make a dash for it.

There may be guards all over the place,

for all you know.

It's a chance, though. Come on, Charlie.

No, Jim. I thought of it

and I'm going to do it.

- No, I'm fitter than you, Charlie.

- I'm the one that's going.

- Now, listen, Joe...

- If you got caught,

they'd not only shoot you,

but your missus and Tom in the bargain.

I've got nothing to lose now.

- Let's go.

- Oh, Garbett.

You stay here. I'll take on this job.

I'm sorry, sir, but I'm going.

Well, then, we'll both go together.

After all, two stand a

better chance than one.

You make for Upton, I'll

make for Highfield.

- One of us is bound to get through.

- Right you are, sir.

This way, then.

Down them steps.

There's a sentry outside.

Mind how you go.

Listen, Garbett, we'll cut across

the churchyard to the copse,

- then separate.

- Very good, sir.

The gravestones will give us

some cover in case we're spotted.

Guns?

Thunder and raining hard.

All the better.

Good luck.

Get down!

Get down, a patrol!

Who's there?

Oh, it's you, sir.

He tried to escape.

Where's Kommandant Ortler?

- I don't know, sir.

- Lieutenant Jung, then?

At the manor house.

Better put something heavy

on that coal hatch.

Try and find a garden roller or something.

Very good, sir. Come on.

That is the end of the English News

on the European Service of the BBC.

You're listening to AI Fitzroy

and his band

playing to you from the

Palace Hotel, London.

Nora, my dear.

Gone.

- How are you feeling now, my dear?

- I'm all right, thank you.

I've just been listening to the news,

there isn't anything.

Anything important, I mean.

They're playing dance music in town.

I can't believe we're not in the middle of

the most terrible nightmare.

The Germans in Bramley.

It's hot.

Where's Oliver?

In the church with the others.

What are you doing?

Opening the window. We want some air.

- Who's that?

- The sentry outside.

Put the light out,

then we can draw the curtains.

I can't hear a sound from the village.

They talk about a woman's intuition.

That's what warned you last night, Nora.

Not the writing on the telegram.

Intuition.

I don't believe in intuition.

If I did...

There's something...

What's the matter, Nora?

I don't know.

There's someone coming up the drive.

It's Oliver!

- He must have got permission to...

- Permission?

To walk about freely

on his own?

Well, what other explanation can there be?

Sit down.

I came to tell you that the policeman

found a way of escaping from the church.

I escaped with him.

He's now dead.

I think these villagers could do

with a sharp lesson, don't you?

They shall have a sharp lesson.

Something that will put a stop to this

once and for all.

You know these people.

What do you suggest?

What about hostages?

That ought to keep them quiet.

Hostages?

Good.

- I must say you've been invaluable to us.

- Thank you.

Hadn't you better hurry?

- You might get the Iron Cross for this.

- Oh, yes. Quite.

You were warned.

The warning was ignored.

An attempt was made to escape.

It failed.

You all know the penalty.

The family of any offender is to be shot.

The man Garbett has a son.

Where is he?

He was in the Home Guard.

So...

I shall pick out five of the children.

They will be shot tomorrow morning.

They'll do it, too.

Take us older ones.

Do what you like with us.

We can spare you a bullet.

But that will not save the children.

My baby!

You are responsible for their deaths.

Nothing will save them.

Fancy a nipper at your age

making all that up out of your own 'ead.

Every word of it's the truth, so 'elp me.

Get away with you. And you gettin'

'alf drowned to come and tell me all that.

Go on, there's nothing...

Cor, you're right, sonny.

How we goin' to get past them all

and through to Upton to Mr Drew?

I'll tell you. I'll cause a diversion

and you make a run for it.

You're spryer on your pins than what I am.

Which way when I'm past these 'ere trees?

Across the common

and use the gorse for cover,

then across the stream,

through Bailey's Wood,

and that'll bring you out

on the Upton Cross Roads.

- S' easy.

- Yeah!

And run with your hands on your knees

like I taught you.

- Look here, Bill.

- Hello?

How you going to cause this 'ere diversion?

Oh, don't you mind, matey.

I can look after meself.

So long, Bill.

Come on, Betty.

What's that?

That's what I was waiting for.

One of you down there,

go and light those candies.

I can put the gas right if you want me to.

- It's my job.

- What needs to be done?

The plant down there wants seeing to,

it's a petrol vapour system,

needs tending every so often.

Very well.

Paul, go with him.

The lights'll go out suddenly.

The rest of you, stay where you are.

Keep way from those doors.

Leave him to me, Dad.

CORPORAL:
Paul!

Paul!

Now keep still!

All of you.

Or I'll shoot.

Go on, Tom, go on!

That's right, lad, clout' im.

That's that.

Hold this.

Charlie!

Hello!

Can you manage single-handed?

I managed all right.

- What about the lights?

- They'll be on in a minute.

George!

Grace, come down, will you?

What's happened?

It's young George Truscott.

Why, he's soaking wet.

He's hurt his leg.

Lift him up, Grace.

It's a bullet wound. Phone the doctor.

Yes.

Hello, Exchange?

- Jerries.

- That's all right, son.

- Jerries at Bramley.

- What, son?

Grace, bring the brandy.

The time. It must be almost light outside.

We've got to save the children.

First things first, we've got to save

those children, but there's something

- even more important.

- I got this off him.

- We must get through to Upton.

- You're wrong, Tom.

- It's the children matter most.

- That's right.

We've got our duty, not only to our kids in

Bramley, but to kids all over the country.

Dad's right. We got to get in touch

with Harry Drew straight away.

Warn the Army and the Home Guard.

- We'll tackle the manor afterwards.

- Why not split up'?

That's right, one to the manor

and the others make a dash for Upton.

No, no, phoning's quickest.

They're sure to have guards

on the switchboard.

We'll take 'em by surprise.

- We've got two Tommy guns and one revolver.

- Hold hard, son, once you start firing,

- you have the whole lot boiling down on us.

- Yes, we got to do it quietly, if we can.

I got the whole thing clear.

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Graham Greene

Henry Graham Greene (2 October 1904 – 3 April 1991), better known by his pen name Graham Greene, was an English novelist regarded by many as one of the greatest writers of the 20th century. Combining literary acclaim with widespread popularity, Greene acquired a reputation early in his lifetime as a major writer, both of serious Catholic novels, and of thrillers (or "entertainments" as he termed them). He was shortlisted, in 1966 and 1967, for the Nobel Prize for Literature. Through 67 years of writings, which included over 25 novels, he explored the ambivalent moral and political issues of the modern world, often through a Catholic perspective. Although Greene objected strongly to being described as a Roman Catholic novelist, rather than as a novelist who happened to be Catholic, Catholic religious themes are at the root of much of his writing, especially the four major Catholic novels: Brighton Rock, The Power and the Glory, The Heart of the Matter, and The End of the Affair; which are regarded as "the gold standard" of the Catholic novel. Several works, such as The Confidential Agent, The Quiet American, Our Man in Havana, The Human Factor, and his screenplay for The Third Man, also show Greene's avid interest in the workings and intrigues of international politics and espionage. Greene was born in Berkhamsted in Hertfordshire into a large, influential family that included the owners of the Greene King Brewery. He boarded at Berkhamsted School in Hertfordshire, where his father taught and became headmaster. Unhappy at the school, he attempted suicide several times. He went up to Balliol College, Oxford, to study history, where, while an undergraduate, he published his first work in 1925—a poorly received volume of poetry, Babbling April. After graduating, Greene worked first as a private tutor and then as a journalist – first on the Nottingham Journal and then as a sub-editor on The Times. He converted to Catholicism in 1926 after meeting his future wife, Vivien Dayrell-Browning. Later in life he took to calling himself a "Catholic agnostic". He published his first novel, The Man Within, in 1929; its favourable reception enabled him to work full-time as a novelist. He supplemented his novelist's income with freelance journalism, and book and film reviews. His 1937 film review of Wee Willie Winkie (for the British journal Night and Day), commented on the sexuality of the nine-year-old star, Shirley Temple. This provoked Twentieth Century Fox to sue, prompting Greene to live in Mexico until after the trial was over. While in Mexico, Greene developed the ideas for The Power and the Glory. Greene originally divided his fiction into two genres (which he described as "entertainments" and "novels"): thrillers—often with notable philosophic edges—such as The Ministry of Fear; and literary works—on which he thought his literary reputation would rest—such as The Power and the Glory. Greene had a history of depression, which had a profound effect on his writing and personal life. In a letter to his wife, Vivien, he told her that he had "a character profoundly antagonistic to ordinary domestic life," and that "unfortunately, the disease is also one's material." William Golding described Greene as "the ultimate chronicler of twentieth-century man's consciousness and anxiety." He died in 1991, at age 86, of leukaemia, and was buried in Corseaux cemetery. more…

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Submitted on August 05, 2018

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