Went the Day Well? Page #8

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


Dad and me will tackle Mrs Collins's.

- Two more to make sure. Who's game?

- ALL:
I am.

Right, I'll take you, Mr Owen, you, Jack.

Charlie, you take charge of the other party.

- Right.

- Mother, you go with Charlie.

You, Peg, you and you, make your way

to the summer house and the manor garden.

We'll join you as soon as

we've done the phoning.

But the children, Jim?

Any luck,

we'll have some more weapons by then.

We'll do in the guard,

barricade ourselves in the manor house

and hold off the Jerries

until the Army comes along.

But the rest of us, Mr Sturry.

Can't we do something?

You'd best stay here.

When we've gone, barricade the doors.

- There'll be a couple of sentries outside.

- We'll have to settle them first.

Jack and you take the Tommy guns.

Don't use 'em unless you've got to.

You wait behind the door

till we tell you it's clear.

See you later.

- Good luck.

- Good luck.

- We got them.

- Good. Good.

Here, you get the women to the manor,

I'll keep this.

We'll tackle the shop from the back.

Steady. There's a machine-gun post

down the lane.

- They won't expect trouble from the village.

- Let's make a dash for it.

It's locked.

- What about the kitchen?

- Yes. You stay there.

Okay-

Right.

Where's the coffee?

The old woman's coffee, where is it?

She never takes... Took

coffee, I don't think.

Get some from the shop.

You stay here and keep your eyes skinned.

Come on, Dad.

Get behind there.

TOM:
Are there any more of them?

Daisy, pull yourself together.

- Are there any more of them?

- No.

Daisy, the phone.

We must get through to Upton.

Yes.

Get Harry Drew, quick as you can.

- Dad, get the other two in.

- Okay.

Hello? Hello, Upton 16,

please, it's urgent.

Thank you. Number's engaged.

Here, let me talk to them.

Hello.

What's that?

I can't cut him off, he's

talking to the Army.

Yes, sir, we're mustering our men now.

In about 10 minutes, sir.

Rendezvous Three Mile Cross? Right, sir.

I'll answer it.

Hello? I'm sorry.

But it's a priority call, madam,

from Bramley End.

Here, let me answer it.

Hello, Drew here. Tom. Are you all right?

- Yes, we know about that, the kid told us.

- Right.

We're coming along as fast as we can,

Home Guards and the regulars.

Okay, Harry.

They're coming.

- Dad, they're coming.

- Good!

He says carry on with the plan

and keep the phone working.

Daisy, are you game

to stand by the switchboard?

- Yes, Mr Tom.

- That's a girl.

- They're coming.

- You stick here with this.

Dad and me will take the Tommy guns

and try to work our way up to the manor.

I'll go upstairs and get Jack's.

- The Germans.

- Where?

- Coming along past the church.

- Let's go up.

Relief going up to the machine-gun post.

That means

the others'll be coming back soon.

We can't risk going that way again.

Jack, you keep that rifle.

We'll need the Tommy gun.

Good.

- Good luck, boys.

- Thanks.

Keep a good look out, Jack.

- Up the track by Joe Garbett's.

- Yes, and round by the back gardens.

- That's done it.

- Let's go through the house.

- It's no good, it's locked.

- Let's try Wilsford's.

Tom.

- Mr Wilsford.

- Hmm? What? What is it? Who is it?

They didn't get you, then?

No, I must have nine lives.

They got poor Garbett.

They landed me a swipe on the head,

and I managed to crawl back here

and passed out.

- We must get through to the manor.

- Do you feel all right to go with us?

- Yes, I'm all right. I'll come...

- Here you are, Mr Wilsford, lean on me.

Thanks.

- But, you two, what on earth...

- Oh, we managed to break out.

The main lot of Jerries don't know yet.

We're gonna try and hold the manor

till the troops get here.

- What, you got through to them then, eh?

- Yes.

13 Platoon will attack the enemy

in the windmill area,

and 14 in and around the village.

And my men to be divided

between the two platoons?

Yes, you and seven men

come with me to the village,

and your sergeant and the remainder

to the windmill.

Get ready to move at once.

Right, sir.

Right, take 13 Platoon off at once

and assemble in the woods

north of the windmill.

You'd best attack from that direction.

It affords the best cover.

- I'll leave the details to you.

- Right.

- Get going straight away.

- Very good, sir.

- And good luck, John.

- Thank you, sir.

We got through to Harry Drew.

He's on his way and the Regulars, too.

- Mr Wilsford, I thought...

- I'll explain about that later.

How many guards they got there, Charlie?

Two lots of two, as far

as I could make out.

Well, we better sneak round the back.

You better not come, sir, with that arm.

- I'll come with you.

- What about us? Can't we do something?

- No, you stay here with Mr Wilsford.

- We'll wait for a signal from you.

- Right. You ready?

- Yes.

Eat up your porridge, Michael.

You mustn't waste food in wartime.

Yes, Mrs Fraser.

- Mrs Fraser?

- Yes?

- Do you think George has got to Upton yet?

- I've no idea.

You boys were very naughty to let him go.

He might have hurt himself.

You mean he might have got shot by a Jerry.

He was a mean beast not

to take me with him.

Why? You'd be no use.

- Bet you I would.

- Bet you you wouldn't.

Be quiet, Audrey.

Stay where you are, children.

Tom Sturry! Keep away from the window.

You stay with the children, Nora.

Come on, children, let's get back.

- Where's Dad?

- He stopped one, I'm afraid.

Well, you collect the others.

Come on, quickly.

- Does it hurt bad?

- A kind of shooting pain.

- We'll get your coat off.

- No, not my arm. I can't feel that. It's my ankle.

- Charlie!

- I twisted it falling.

Give me a hand, will you?

We'll get him up to the house.

Now, you people get inside the house.

I'm going to collect the guns

and ammunition from the bodies.

- We'll help, won't we, Ivy?

- Not 'arf.

All right, tackle that side.

You two, go in.

We got through to Upton.

- Help's coming.

- Thank goodness! Your arm...

Never mind my arm, ma'am,

it's my blinking ankle.

In the drawing room, there's a sofa.

No. We're going to barricade

the downstairs rooms.

- Take him up, will you?

- Bridget!

- Tom, I'll take this upstairs.

- That's right.

Sorry, ma'am,

I'm afraid I'm a bit of a heavyweight.

Don't worry, so am I. Come along.

Jim!

Let me come.

I'm glad that's over.

Oh, don't know

when they're more unpleasant,

when they're dead

or when they're guzzling our rations.

Drop 'em down here,

we'll take them upstairs later.

Janet!

Oh, don't wake her, Mrs Bates,

she's only just got to sleep.

What's happened?

- It's all right, help's coming.

- Oh.

We're going to give the Germans

a bit of their own back.

Hello? Orlter?

They've got through to Upton.

They're sending Home Guards and Regulars.

So.

I can't hold this place.

I'll transfer the apparatus

to the manor house.

It must work tonight,

according to instructions.

I can protect it there for 48 hours.

They have weapons, they'll put up a fight.

I'll give them no chance to fight.

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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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