sol- Having assumed the identity of a deceased British soldier to avoid being sent to back to a concentration camp, a Czech civilian winds up at a prisoner-of-war camp where he must convince his suspicious inmates that he is not a German mole in this Ealing Studios drama. Often regarded as the first World War II P.O.W. movie, filmed in actual German locations, 'The Captive Heart' has a lot of interest to it. The screenplay is not without its flaws. The protagonist convinces the Brits of his true identity a little too quickly for credibility. There are also far too many subplots in the mix, with only Gordon Jackson as a blinded officer of any interest; the rest of the characters are bland and the episodic structure subtracts from the immediacy of the protagonist's ordeal. Michael Redgrave is superb in the lead role though with everything he has to endure, even allowing his hand to be smashed in a heart-wrenching scene in order to be able to explain the difference in his handwriting when writing letters to the wife of the soldier whose identity he took. In fact, this one of the major narrative strands of the movie with personal identity issues briefly arising as Redgrave finds that he has to fake correspondence "home" to avoid the Germans catching onto his real identity. Add in some luscious, mobile cinematography from Douglas Slocombe (note the gradual zooms-in as Jackson's bandages are removed and the exterior shots that track and pan over the soldiers at attention) and 'The Captive Heart' is a film with a lot to like about it, imperfect as it may be.

MartinHafer I was thrilled when the movie began. I had no idea it was made by Ealing Studios, but I always felt impressed by their every film. They just seemed to make the most out of even the simplest stories.This film is about a group of British soldiers spending the war in a prisoner of war camp. "The Captive Heart" stretches from 1940 through the war to the return of the prisoners to their homes.Often, the story is punctuated with flashback scenes--showing the soldiers in mostly happier days with loved ones. In addition to the many little vignettes is an odd (and rather difficult to believe) story involving Michael Redgrave. It seems he's a Czech who's escaped from a concentration camp and is re-captured by the Germans. However, not wanting to be returned to a hellish place like Dachau, he assumes the identity of a dead British soldier--and is sent to the camp along with the real British prisoners. This story and how it all plays out is very interesting. I don't want to say more, as it would spoil the story.The film has very nice acting and a reasonably engaging story. My only major complaint is that because the film takes place over such a long time period, the film is a bit episodic and shallow at times. But it's still a well made and engaging film from start to finish.

James Byrne THE CAPTIVE HEART was the first WW2 film to be partly produced in Germany since the war started. The prison camp scenes were reconstructed at Morlag POW camp in Westertimke, Germany, and are very authentic. Karel Hasek (Michael Redgrave), a Czech Officer, has assumed the identity of a dead English Officer, Captain Geoffrey Mitchell, but gets captured and is interned in a German POW camp. He is forced to write to the dead man's wife, disguising his writing by injuring his hand on purpose. Mrs. Mitchell (Rachel Kempson) is pleasantly surprised by the warmth of the letters, as her marriage was on the rocks before the war started. Others in the POW camp include two former building trade partners, Corporal Ted Horsfall (Jack Warner) and Private Dai Evans (Mervyn Johns), who learns that his wife has died during child birth. Lieutenant David Lennox (Gordon Jackson) loses his sight and breaks off his engagement to Elspeth (Margot Fitzsimmons), while Lieutenant Stephen Harley (Derek Bond) is distraught after receiving a letter which states his wife is being unfaithful. Private Matthews (Jimmy Hanley), a former burglar, puts his questionable skills to good use when everyone is handcuffed in a reprisal by the orders of Herr Forster (Karel Stepanek), by immediately releasing all the prisoners. Repatriation arrives at last, and Matthews sacrifices his freedom by allowing Hasek to go in his place, and he visits the home of Celia Mitchell. She is shocked when hearing of her real husband's death, but eventually she falls in love with Hasek. Lennox and Harley are reunited with their loved ones, and Evans meets his daughter for the first time. Working as a technical adviser on THE CAPTIVE HEART was Sam Kydd, who also had a bit part as Private Sam Grant. This was Sam's first film appearance since his own experiences of captivity in a POW camp, which he related vividly in his book "For You The War is Over". If you can manage to get your hands on a copy of this marvellous book you will be rewarded for your efforts. It works as a perfect compliment to THE CAPTIVE HEART, and gives a greater understanding of the life of a POW in WW2. THE CAPTIVE HEART is a mature and realistic war film and is highly recommended. One of the scriptwriters, R.N.V.R.Lieutenant Guy Morgan, had actually been a prisoner at Morlag. The movies original title was "Lover's Meeting", but at the suggestion of future British TV stalwart Jack Warner, the title was changed to THE CAPTIVE HEART.

steve-raybould Great plot, excellently under-stated performances, writing and direction. The fact that this film was made in 1946, so close to the events its depicts, seems to add an almost documentary-like quality to this film. Indeed, in the opening credits, the line 'Filmed in the British Zone of Western Germany' suggest that the realistic prison-camp scenes were probably shot in genuine locations. The cast is almost a repertory company of British 1940s actors - but no-one is taking an easy ride. There are fresh and challenging performances, even though the faces are familiar. What struck me is how the film is free of the gung-ho 'smart prisoners, dumb Krauts' type of prison camp film that dominated the genre later on. This film is the product of a people tired of war. At the same time, it retains some of the stiff upper lip feel of many British wartime films, but with the confidence of victory, it does not need to indulge in the 'beastly Hun' elements. Moving without being sentimental. A very 'human' film, only a few steps short of a masterpiece.