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STALAG 17

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From Wikipedia, the free encyclopedia

This article is about the film. For other uses, see Stalag.

Stalag 17
1959 Theatrical re-release poster
Directed byBilly Wilder
Screenplay byEdwin BlumBilly Wilder
Based onStalag 17
1951 play
by Donald BevanEdmund Trzcinski
Produced byBilly Wilder
StarringWilliam HoldenDon TaylorOtto Preminger
Narrated byGil Stratton
CinematographyErnest Laszlo
Edited byGeorge Tomasini
Music byFranz Waxman
Distributed byParamount Pictures
Release datesMay 29, 1953 (UK)June 6, 1953 (US)
Running time120 minutes
CountryUnited States
LanguageEnglish
Budget$1,661,530
Box office$10,000,000

Stalag 17 is a 1953 American war film directed by Billy Wilder. It tells the story of a group of American airmen confined with 40,000 prisoners in a World War II German prisoner-of-war camp “somewhere on the Danube“. Their compound holds 630 sergeants representing many different aircrew positions, but the film focuses on one particular barracks, where the men come to suspect that one of their number is an informant. The film was directed and produced by Billy Wilder, who with Edwin Blum adapted the screenplay from the Broadway play of the same name. The play was written by Donald Bevan and Edmund Trzcinski on the basis of their experiences as prisoners in Stalag 17B in Austria.

The film stars William Holden in an Oscar-winning performance, along with Don Taylor, Robert Strauss, Harvey Lembeck, Peter Graves, Neville Brand, Richard Erdman, Sig Ruman, and Otto Preminger. Strauss and Lembeck appeared in the original Broadway production.

Plot

In a German prisoner-of-war camp named Stalag 17, one of its compounds holds 630 American airmen (all of whom are sergeants), and is overseen by camp warden Oberst von Scherbach.

In December 1944, the men of Barracks 4—led by appointed barracks chief “Hoffy” Hoffman, and security officer Frank Price—arrange for the escape of fellow airmen Manfredi and Johnson. The pair are shot dead in the attempt, and the men believe they were betrayed by an informant. Suspicion falls on J. J. Sefton, an enterprising cynic who barters openly with the German guards for various luxuries. He also creates profitable ventures that distract from the mundanity of camp life: from organizing rat races for gambling, to an improvised distillery for brewing alcohol, to a makeshift telescope to spy on the Russian women from a neighboring compound. Clarence “Cookie” Cook, who narrates the story, serves as Sefton’s naive and loyal aide.

The men of Barracks 4 do their best to keep sane, which includes enduring the antics of barracks clowns “Animal” Kuzawa and Harry Shapiro, and listening for war news on a smuggled radio. Their jovial guard, Feldwebel Schulz, secretly retrieves hidden messages from a hollow black queen on the chessboard, and straightens the looped cord of a dangling light bulb, which serves as a signal between himself and the informant. Just before Christmas, a recently captured Lieutenant Dunbar is assigned to Barracks 4 until he can be sent to an officers camp. Sgt. Bagradian, who accompanies Dunbar, reveals that Dunbar rigged a time bomb in transit and blew up a munitions train. Sefton recognizes Dunbar from officers school, and believes that he only passed because of his rich family, creating tension between them.

Schulz announces that an inspector from the Geneva Convention will arrive, and Sefton bribes the guards to let him spend the day with the Russian women. The radio is later confiscated by Schulz. Concluding that Sefton was rewarded for revealing the radio, the men confront him when he returns, but Sefton denies he was responsible. Von Scherbach interrupts to arrest Dunbar as a saboteur; the men blame Sefton again and brutally beat him.

The next day, the inspector from Geneva arrives with Red Cross parcels—including 2,000 ping-pong balls, which the prisoners use to create smoke bombs. The inspector is then told about Dunbar’s removal, and he warns von Scherbach that Dunbar cannot be convicted without proof, lest there be war crime trials. Von Scherbach hands Schulz a black queen to be delivered to the informant. During the Christmas Eve celebrations, Price stealthily switches out the black queen, reads the hidden message, and then resets the signal. Sefton, recovering from his beating, notices the signal afterwards and becomes suspicious. Price gets Bagradian to reveal the recipe of Dunbar’s time bomb: a lit cigarette tucked into a matchbook. That night, an air raid siren forces the men to evacuate. Sefton hides and witnesses Price speaking German to Schulz, and demonstrating the time bomb as evidence against Dunbar.

On Christmas Day, the SS arrive to take Dunbar to Berlin. While Hoffy has Price guard Sefton (who is still believed to be the informant), he gathers the men to rescue Dunbar. A riot and an ignited smoke bomb distracts the guards, and Dunbar is taken to hide in a latrine‘s water tower until nightfall. After von Scherbach threatens to raze the camp, the men of Barracks 4 decide that one of them must help Dunbar escape. Price volunteers, and Sefton finally accuses him of being a German spy. Sefton interrogates Price and reveals the messaging system he used; the men are convinced and Price tries to flee, but he is quickly restrained.

Anticipating a generous reward, Sefton decides to rescue Dunbar. He retrieves the Lieutenant, and the prisoners throw Price out of the barracks with cans tied to his leg. Price attracts the spotlights of every guard tower and is gunned down; Sefton and Dunbar escape amidst the chaos. The prisoners return to their bunks, and Cookie whistles “When Johnny Comes Marching Home“.

Cast

Production

Original Broadway production

The film was adapted by Wilder and Edwin Blum from the Broadway play by Donald Bevan and Edmund Trzcinski, which was based on their experiences as prisoners in Stalag 17B in Austria. Trzcinski appears in the film as a prisoner. The Sefton character was loosely based on Joe Palazzo, a flyer in Trzcinski’s prisoner-of-war barracks.

The play was produced and directed by José Ferrer. It was first presented at the Edwin Burke Memorial Theater of The Lambs, a theatrical club, on March 11, 1951 (staged by the authors). It began its Broadway run on May 8, 1951, at the 48th Street Theatre and continued for 472 performances, closing on June 21, 1952. Among the notable actors in the cast, John Ericson made his Broadway debut as Sefton, as did Mark Roberts as Dunbar and Allan Melvin as Reed. Robert Strauss, Harvey Lembeck, and William Pierson performed the same roles in the play that they later portrayed in the film.[2][3]

Casting

Both Charlton Heston and Kirk Douglas were considered for the role of Sefton.[4]

Location

The prison camp set was built on the John Show Ranch in Woodland Hills, on the southwestern edge of the San Fernando Valley.[5] The shoot began in February 1952, during the rainy season in California, providing plenty of mud for the camp compound.[6] It is now the location of a meetinghouse of the Church of Jesus Christ of Latter-day Saints.

Filming and release

The film was shot in chronological order, an unusual practice because that method is usually much more expensive and time-consuming. In a featurette released later, members of the cast said that they themselves did not know the identity of the informant until the last three days of shooting.

Peter Graves recalled that the film was held back from release for over a year because Paramount Pictures did not believe that anyone would be interested in seeing a film about prisoners of war. The 1953 release of American POWs from the Korean War led Paramount to release it on an exploitation angle.[7]

Reception

Box office

By January 1954, Stalag 17 had earned $3.3 million in theatrical rentals in the United States and Canada.[8]

Critical reaction

Bosley Crowther praised the film, calling it “cracker-jack movie entertainment”. He praised Wilder and Edwin Blum for having improved the play, and applauded William Holden’s performance.[9] Harrison’s Reports wrote, “Thanks to the brilliant handling of the subject matter by producer-director Billy Wilder, and to the fine acting of the entire cast, the picture has been fashioned into a first-rate entertainment”.[10] William Brogdon of Variety felt “The raucous flavor will set well with male viewers and even the distaffers should find it acceptable entertainment most of the time. William Holden’s name heads the good cast…although the lengthy two-hour running time makes for a booking awkwardness when it reaches the regular dual-bill situations in the general runs.”[11] Philip K. Scheuer of the Los Angeles Times wrote Wilder “preserved [the] essential humor and tragedy with no dulling of its corrosive edges, though he has cleaned it up in both language and situations. Lustiness has pretty much replaced bawdiness, and while the fun may not yet be all in the “good clean” class, it is at least expressed in the accepted and more palatable Hollywood medium of hard-boiled comedy.”[12]

In 2006, film critic James Berardinelli stated, “among the 20th-century directors, few were more versatile than Billy Wilder”.[13] On Rotten Tomatoes, the film has a 91% rating based on 74 reviews, with an average rating of 8.40/10. The website’s consensus states: “Stalag 17 survives the jump from stage to screen with flying colors, thanks to Billy Wilder’s typically sterling direction and a darkly funny script.”[14] On Metacritic it has a score of 84% based on reviews from 15 critics.[15]

Accolades

William Holden won the Academy Award for Best Actor in a Leading Role. His acceptance speech is one of the shortest on record (“thank you, thank you”), the TV broadcast had a strict cutoff time, which forced Holden’s quick remarks. The frustrated Holden personally paid for advertisements in the Hollywood trade publications to thank everyone he wanted to on Oscar night. He also remarked that he felt that either Burt Lancaster or Montgomery Clift should have won the Best Actor Oscar for From Here to Eternity instead of him. He is said to have felt he was given the award as consolation for not having previously won it for Sunset Boulevard.[16]

AwardCategoryNominee(s)ResultRef.
Academy AwardsBest DirectorBilly WilderNominated[17]
[18]
Best ActorWilliam HoldenWon
Best Supporting ActorRobert StraussNominated
Directors Guild of America AwardsOutstanding Directorial Achievement in Motion PicturesBilly WilderNominated[19]
National Board of Review AwardsTop Ten Films7th Place[20]
New York Film Critics Circle AwardsBest ActorWilliam HoldenNominated[21]
Writers Guild of America AwardsBest Written American ComedyBilly Wilder and Edwin BlumNominated[22]
  • The television series Hogan’s Heroes (CBS, 1965–71) is based on a similar Stalag. Richard Erdman, who played Hoffy in Stalag 17, guest-starred on Hogan’s Heroes as Walter Hobson, a reporter, who with Hogan’s crew, is freed in the episode “No Names Please”. Erdman is the only star of the movie to have guest-starred on Hogan’s Heroes.
  • “Stalag 17” is a 1973 reggae riddim composed by Ansell Collins and named after the film.
  • Jay Lawrence, who played amateur impressionist Sgt. Bagradian, reprised his Clark Gable impression when he played Gable as Rhett Butler in the 1975 pop musical Train Ride to Hollywood, starring the R&B band Bloodstone. He used the exact same line – “I gave you kisses for breakfast, kisses for lunch, and kisses for supper . . . and now I find that you’re eating out” – in the Bloodstone movie.
  • The film is parodied in the Ripping Yarns episode “Escape from Stalag Luft 112B” (1977).
  • An uncredited William Holden reprised the character of a cigar-chewing POW in the 1979 war movie Escape to Athena. Since he is seen only briefly, “Sefton” presumably made another successful escape while no one was looking.
  • The episode “Did You See The Sunrise?” (1982), of the television series Magnum, P.I., opens with Stalag 17 playing on the TV, as the main character, Thomas Magnum, is watching and remembering his childhood, and the enjoyment he had with the movie, only to grow up and experience his own wartime imprisonment.
  • In a 1995, season-three NYPD Blue episode entitled “Torah! Torah! Torah!“, Stalag 17 was mentioned.
  • In the 2008–2015 television series The Penguins of Madagascar, two penguins named Manfredi and Johnson are referenced throughout the show, typically for the nature of their demise or a mistake they made. They actually appear alive in “The Penguin Who Loved Me”.[23]
  • In the 2013 film, The Internship, Vince Vaughn makes a reference to being someone’s “Bill Holden” to get him what he needs.

References

  1.  “Joe Ploski”. British Film Institute. Archived from the original on September 28, 2021. Retrieved September 11, 2022.
  2.  “Stalag 17 (Broadway, 48th Street Theatre, 1951”. Playbill (published 1951). 2012. Retrieved October 14, 2024.
  3.  “Stalag 17 — Broadway Play — Original”. IBDB. The Broadway League. Retrieved October 14, 2024.
  4.  Capua, Michelangelo (October 9, 2009). William Holden: A Biography. McFarland. p. 65. ISBN 978-0-7864-5550-8.
  5.  Rowan, Terry (2012). World War II Goes to the Movies & Television Guide. Lulu.com. p. 443. ISBN 978-1-105-58602-6.
  6.  Phillips, Gene (February 5, 2010). Some Like It Wilder: The Life and Controversial Films of Billy Wilder. University Press of Kentucky. p. 163. ISBN 978-0-8131-7367-2.
  7.  Weaver, Tom (2005). “Peter Graves Interview”. Earth Vs. the Sci-fi Filmmakers: 20 Interviews. McFarland & Company. p. 146. ISBN 978-0-786-42210-4.
  8.  “Top Grossers of 1953”. Variety. January 13, 1954. p. 10. Retrieved July 16, 2021 – via Internet Archive.
  9.  Crowther, Bosley (July 2, 1953). “Two New Films Arrive; ‘Stalag 17’ Emerges as Taut Film With William Holden – Has Bow at Astor”. New York Times. Retrieved August 24, 2016.
  10.  “‘Stalag 17’ with William Holden, Don Taylor and Otto Preminger”. Harrison’s Reports. May 9, 1953. p. 75. Retrieved July 16, 2021 – via Internet Archive.
  11.  Brogdon, William (May 6, 1953). “Film Reviews: Stalag 17”. Variety. p. 6. Retrieved July 16, 2021 – via Internet Archive.
  12.  Scheuer, Philip K. (July 16, 1953). “Prison Camp Types Liven ‘Stalag 17′”. Los Angeles Times. Part III, p. 8. Retrieved July 16, 2021 – via Newspapers.com. 
  13.  Berardinelli, James. “Stalag 17”. ReelViews. Retrieved July 8, 2017.
  14.  “Stalag 17 (1953)”. Rotten Tomatoes. Retrieved November 4, 2022.
  15.  “Stalag 17”. Metacritic.
  16.  Wallechinsky, David; Wallace, Irving (1975). The People’s Almanac. Garden City, New York: Doubleday & Company, Inc. p. 839. ISBN 0-385-04060-1.
  17.  “The 26th Academy Awards (1954) Nominees and Winners”. Academy of Motion Picture Arts and Sciences. Archived from the original on July 6, 2011. Retrieved May 31, 2015.
  18.  Holsinger, M. Paul (1999). War and American Popular Culture: A Historical Encyclopedia. Greenwood Publishing Group. p. 310. ISBN 978-0-313-29908-7.
  19.  “6th Annual DGA Awards”. Directors Guild of America Awards. Retrieved July 5, 2021.
  20.  “1953 Award Winners”. National Board of Review. Retrieved July 5, 2021.
  21.  “1953 New York Film Critics Circle Awards”. Mubi. Retrieved July 5, 2021.
  22.  “Awards Winners”. Writers Guild of America Awards. Archived from the original on December 5, 2012. Retrieved June 6, 2010.
  23.  Manfredi and Johnson compilation (The Penguins of Madagascar). YouTube. Archived from the original on December 11, 2021.
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