Hangmen Also Die

Starring:Hans Heinrich von Twardowski, Brian Donlevy, Walter Brennan, Anna Lee, Nana Bryant, Margaret Wycherly, Dennis O'Keefe, Gene Lockhart, Tonio Selwart, Alexander Granach, Reinhold SchÃ¼nzel, Ludwig Donath, Arno Frey, Sarah Padden, Jonathan Hale, Byron Foulger, Edmund MacDonald, Lionel Stander, Lester Sharpe, Arthur Loft
Director: Fritz Lang
Studio: Kino Video
Product Type: DVD

Editorial Review:
Amazon.com
Because it's been little seen, and because people tend to shrug off contemporaneous World War II films as "propaganda," Hangmen Also Die has never received its due. It's a brilliant, riveting movie, made in response to the atrocities committed against the Czech people following the assassination of Reichsprotektor Heydrich, Hitler's personal "hangman." Under Fritz Lang's ferociously stylized direction, the duel of wits between the Nazi occupiers and the Prague underground--"a ghost army sworn to haunt them till their blood runs cold"--becomes the stuff of legend: virtually another installment of Die Nibelungen, and a dynamic variation on the urban phantasmagoria of the Mabuse films and Spione and M.

Customer Reviews:

Obscure noir.......2007-03-23

The collection Film Noir - The Dark Side of Hollywood boasts on the box cover that it features "Five Classics from the Studio Vaults". It may be a little much to call these films "classics" (no one will ever mistake these movies for such greats as Out of the Past or The Asphalt Jungle), but they are all okay, or in some cases, even good.

The first in the bunch (chronologically speaking) is Hangmen Also Die, a World War II thriller directed by Fritz Lang and based on real events. Brian Donlevy plays a member of the Czech resistance who is responsible for the assassination of Heydrich. Anna Lee gets entangled with him, and soon both are in peril. The Nazis threaten to execute innocent people till the assassin comes forth, including Lee's father. This film is only borderline noir, but it is still good.

Railroaded is a rather standard innocent-man-accused mystery, probably most notable for featuring a pre-Leave It To Beaver Hugh Beaumont as the detective in love with Sheila Ryan even as her brother languishes in jail. John Ireland is effective as the villain in the piece.

The Long Night is the "big name" movie in the set. Directed by Anatole Litvak, it stars Henry Fonda, Barbara Bel Geddes, Vincent Price and a small role for Elisha Cook, Jr. Fonda is holed up in his apartment, surrounded by cops who want to take him in for a murder. The bulk of the movie is a long flashback as to how he got into this spot. Vincent Price is great as a slimy magician, and Bel Geddes is okay in what I believe is her first role (between this movie, Vertigo and 14 Hours - the three movies I've seen her in - I don't think she ever has a normal love relationship with any man). This film is a remake of a French movie and the only DVD with any sort of special features (a video essay on the making of the movie).

Behind Locked Doors is a short (62 minutes) little private eye story with Richard Carlson as a private detective who is recruited by a beautiful reporter to go undercover in a sanitarium where it is believed a crooked judge is hiding out. Of course, the doctor and his assistant are in cahoots with the judge and Carlson soon finds himself trapped "behind locked doors." Probably the most interesting thing about this movie is it has Tor Johnson (of Plan 9 From Outer Space fame) in a role that uses all of his limited acting talents.

Finally, there is Sudden Fear which I feel is the best in the bunch. Joan Crawford is a playwright and heiress who gets actor Jack Palance fired because he doesn't seem like a romantic leading man. When they meet by chance later, she falls for him and they marry, but it turns out he's a better romantic actor than she ever thought; he is actually scheming with an old girlfriend to kill her and get her money. When Crawford finds out by accident, she launches her own counter-scheme. Although this film owes more than a little to Hitchcock's Suspicion, it also goes off in its own direction and does a good job at leaving the viewer guessing about how it all turns out.

As mentioned earlier, there are hardly any extras in this set. Railroaded and Behind Locked Doors are three-star movies, while the others are four-star flicks. I will go with the majority and rate it four stars. These may not be classics, but this set does offer a chance to see some less well-known, decent movies.

Beware noir fans of this Kino rip-off!.......2006-11-22

Kino, which is supposed to have such a big reputation for respecting the art of cinema, has really pulled a fast one on the public with this DVD box set.

They took one of Joan Crawford's greatest noir films "Sudden Fear," plus a really great (and rare) Henry Fonda noir "The Long Night" and totally ruined them. And the other titles in this box set don't come out much better.

Both "Sudden Fear" and "The Long Night" are so inky black until most of the time you can only see the actors' eyes (and that's in bright sunshine). The sound is terrible. Dialogue is so low you have to turn up your TV to full volume to hear anything. Then when the soundtrack music starts, it's usually blasting. So you constantly have to adjust the sound all the way through each movie. And even at that, the dialogue is still flat and hard to understand.

I've bought public domain cheapy DVDs where more care was put into production values. The only thing first class about this Kino box set is the artwork. The rest of this set is pure junk.

I've been ripped off with other Kino titles with Kino's poor production values (and I'll get around to reviewing those soon), but this set wins the prize. Let the buyer beware.

Remastered DVDs?.......2006-09-10

Has anyone heard if this collection from Kino Video,have all been Remastered with better picture & sound? It's a great collection,but not if Kino has done nothing to them...Aloha Craig

5 classic NOIRS from the studio vaults .......2006-07-24

Wow! Great deal! These films retail for $29.95 each. This collection includes great titles from great directors (Fritz Lang, Anthony Mann) and they star some of Hollywood's all time greats like Joan Crawford, Henry Fonda, Jack Palance and many more. Here's a little description for each film:

SUDDEN FEAR (1952) - STARRING JOAN CRAWFORD, JACK PALANCE & GLORIA GRAHAME - DIRECTED BY DAVID MILLER - NOMINATED FOR 4 ACADEMY AWARDS - SYNOPSIS: Joan Crawford turns in one of the most emotionally charged performances of her career as a playwright who must use her plotting skills to save her own life, in this beautifully crafted film noir thriller. On a train headed home to California, Myra Hudson (Crawford) falls in love with, and marries, actor Lester Blaine (Jack Palance) whom she has just fired from her most recent New York play. Back on her San Francisco estate, something evil appears to be lurking just beneath the surface of the couple's idyllic life. Enter Gloria Grahame as Palance's girlfriend (in a stunning performance the New York Times called "hard, brash and sexy."). Soon it is clear that they are after more than new scripts as they greedily scheme for Myra's money. Director David Miller (Lonely Are The Brave) guides the story with supreme confidence, assisted by gorgeous black and white cinematography and an excellent score by Elmer Bernstein, as Sudden Fear races towards its jolting climax. Nominated for four Academy Awards, including Best Actress (Crawford) and Best Supporting Actor (Palance), Sudden Fear is the unbeatable combination of a lushly produced Joan Crawford melodrama and a drop-dead suspense thriller. They just don't make 'em like this anymore!

THE LONG NIGHT (1947) - STARRING HENRY FONDA, BARBARA BEL GEDDES & VINCENT PRICE - DIRECTED BY ANATOLE LITVAK - SYNOPSIS: An exciting rediscovery from the studio vaults, The Long Night is an emotionally gripping, visually dynamic film noir, in which Henry Fonda, at the peak of his career, delivers an unforgettable performance. Presented in an intricate web of flashbacks, The Long Night follows the fractured thoughts of Joe Adams (Henry Fonda), a factory worker pinned inside his third-floor apartment after gunning down a mysterious, dapper gentleman (Vincent Price). Joe's memories, often containing flashbacks within flashbacks, reconstruct the events leading up to the shooting, revealing his romance with a quiet young girl (Barbara Bel Geddes), his less-romantic involvement with a worn-out showgirl (Ann Dvorak) and the varied twists of fate which drove Joe to murder. In staging this remake of Marcel Carné's Le Jour Se Leve (France, 1939), the producers of The Long Night imported not only the story, but the look of poetic realism that made the original so haunting. At once dismal and magical, the world of The Long Night was unlike anything Hollywood had yet imagined, and laid the groundwork for the dark and gritty (but highly stylized) imagery that became the trademark of film noir.

HANGMEN ALSO DIE (1943) - STARRING BRIAN DONLEVY, ANNA LEE & WALTER BRENNAN - DIRECTED BY FRITZ LANG - NOMINATED FOR 2 ACADEMY AWARDS - SYNOPSIS: Pursued by the Germans after the assassination of Reinhard Heydrich, Dr. Svobonda (Brian Donlevy) enlists the aid of a young woman (Anna Lee) who is oblivious to the lethal crosscurrents that surround her. As she learns more about the mysterious doctor, she grows aware of the involvement of her father (Walter Brennan) and fiance (Dennis O'Keefe) in the resistance, and soon finds herself entangled in the revolution's secret operations. Much of the nightmarish quality of Hangmen Also Die is attributable to playwright Bertolt Brecht, who co-scripted the film with Lang, and legendary cinematographer James Wong Howe (Hud), who cloaks every conrner in shadow and endows the film with an almost tangible sense of claustrophobia.

RAILROADED (1947) - STARRING JOHN IRELAND, SHEILA RYAN & HUGH BEAUMONT - DIRECTED BY ANTHONY MANN - SYNPOSIS: Anthony Mann, who took the suspense of film noir to dizzying heights with his movies T-Men and Raw Deal, brings his talents to the hard-boiled detective thriller with Railroaded. When a policeman is killed attempting to thwart a holdup, Detective Mickey Ferguson is assigned to the case. The case becomes personal, though, when the kid brother of Mickey's sweetheart is named as the gunman. Determined to find the truth, Mickey goes searching for clues and comes up with notorious gangster Duke Martin, played by John Ireland (Spartacus, Gunfight At The OK Corral). What follows is a blood-and-thunder extravaganza filled with betrayal and suspicions, handguns and hostages, and a climactic nightclub showdown. Mann directs Railroaded with a precision and elegance that betrays its low-budget production, and John Ireland's cold-blooded performance is backed up by a talented (if unknown) cast, including Hugh Beaumont (Ward of television's Leave It To Beaver) and Shelia Ryan

BEHIND LOCKED DOORS (1948) - STARRING RICHARD CARLSON, LUCILLE BREMER & TOR JOHNSON - DIRECTED BY BUDD BOETTICHER (SEVEN MEN FROM NOW) - SYNOPSIS: A shadowy sanitarium provides the claustrophobic stage for sadism, paranoia and murder in this classic film noir from director Budd Boetticher (Tall T, Comanche Station). In a plot that clearly foreshadowed Sam Fuller's Shock Corridor, private detective Ross Stewart (Richard Carlson) checks himself into a mental hospital in an attempt to locate a corrupt judge hiding from justice. But before Stewart can reveal the truth, his true identity is discovered and he becomes a victim of his own ruse. With the help of a deranged punch-drunk ex-prizefighter (Tor Johnson of Plan 9 From Outer Space), the doctors at La Siesta Sanitarium concoct a plan to make Stewart a permanent resident. And the only person who shares Stewart's secret, the only one who can rescue him from certain death, is the scheming woman who sent him there (Lucille Bremer). A bare-bones, low-budget B thriller from Hollywood's "Poverty Row," Behind Locked Doors cleverly compensates for its budgetary limitations by bathing its sets in darkness. This visual spareness is perfectly suited to Boetticher's terse, hard-edged style, making the film a nightmarish ride through the halls of insanity and an ingenious, effective example of American film noir.

Average customer rating:

Hangmen Also Die
Hangmen Also Die: The Lesson is Evil Exists
A tribute to the oppressed who dared to fight Nazi brutality...
Bert and Fritz together at last!
why the end titles are ironic, etc.

Hangmen Also Die
Starring: Hans Heinrich von Twardowski , Brian Donlevy , Walter Brennan , Anna Lee , and Nana Bryant
Director: Fritz Lang
Manufacturer: Kino Video
ProductGroup: DVD
Binding: DVD

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ASIN: 630568393X
Release Date: 2000-01-18

Amazon.com

Because it's been little seen, and because people tend to shrug off contemporaneous World War II films as "propaganda," Hangmen Also Die has never received its due. It's a brilliant, riveting movie, made in response to the atrocities committed against the Czech people following the assassination of Reichsprotektor Heydrich, Hitler's personal "hangman." Under Fritz Lang's ferociously stylized direction, the duel of wits between the Nazi occupiers and the Prague underground--"a ghost army sworn to haunt them till their blood runs cold"--becomes the stuff of legend: virtually another installment of Die Nibelungen, and a dynamic variation on the urban phantasmagoria of the Mabuse films and Spione and M.

Customer Reviews:

Hangmen Also Die.......2007-06-22

One of the finest anti-Nazi thrillers to emerge from the WWII period, Lang's noirish approach to the propaganda film involves cloak-and-dagger intrigue, sinister interrogations, and plenty of light-and-shadow atmospherics, courtesy of camera great James Wong Howe. Such elements were second nature to German ex-pat Lang, director of "M" and "The Big Heat," and his impeccable direction of numerous character actors--a cab driver (Lionel Stander) and a fruit merchant (Sarah Padden), in particular--adds to the visceral power of this story of resistance. Brennan is also excellent playing against type as a radical patriot. See "Hangmen" or die trying.

Hangmen Also Die: The Lesson is Evil Exists.......2007-02-05

When Reichsprotektor Reinhard Heydrich was assassinated by Czech patriots in 1942, the immediate result was the liquidation of the entire village of Lidice. Every citizen was murdered and the town itself reduced to rubble. The enormity of this crime was not made apparent at the time, but in HANGMEN ALSO DIE, director Fritz Lang and screenwriter Bertold Brecht created a film that dramatises the essential events in a manner that suffers from some deliberately heavy acting but in no way subtracts from its incredible power.

Brian Donlevy in surely the flattest of his career sleepwalks through his role as Dr. Svoboda, the assassin. One would think that the ethical issues of deciding whether to give himself up for execution or allowing innocent hostages to be shot should have occupied more of Donlevy's interpretation of the assassin. Donlevy does little more than allow others to debate the need to weigh one life against hundreds of others when there are larger issues at stake. To director Lang's credit, he allows the film to address the tricky issue of whether there can even be larger issues than human lives. Lang comes firmly down on the side that in the larger horror of war some issues of right and justice must trump the lives of those who pay for the right of others to debate these ethical dilemmas. Walter Brennan as Professor Novotny shows the same lack of dramatic fire that afflicts Donlevy. In fact, it becomes clear that the only characters who show any pizzazz are the Nazis. Some critics have suggested that this disparity was the deliberate intent of Lang, whom they saw as interested more in the underlying themes of justice versus retribution than in character glorification. The Nazis are so over the top that this gap cannot be by accident. Alexander Granach as Gestapo Inspector Gruner and Gene Lockhart as turncoat Czaca positively revel in their nefarious machinations. I see this discrepancy more as revelatory of Lang's wish to present the Czech hostages as internal mirrors of their pacific exteriors. And on those rare occasions when the hostages show a more direct attitude about their lot, they are quite capable of evincing a believable straightforwardness.

When the film was released in 1943, audiences knew the Nazis were evil, but evil more in the Al Capone sense than in any genocidal one. The ending in which the duplicitous Czaca is framed for Heydrich's murder implies that as bad as the Germans were their word about releasing hostages could be trusted. History has proven otherwise. HANGMEN ALSO DIE is a life-affirming film that shows that even during the horrors of genocide, men and women of courage could yet find the dignity to retain their humanity even as their hammy tormentors could lose theirs.

A tribute to the oppressed who dared to fight Nazi brutality..........2007-01-02

'Hangmen Also Die' takes as its story, the assassination of Reinhard Heydrich, a German Nazi official, head of the security police, chief deputy to the head of the Schutzstaffel, Heinrich Himmler, who organized mass exterminations of European Jews during the opening years of World War II... and also the subsequent retaliatory devastation of Lidice, a Czech mining village...

With his usual skill, Lang weaves a tale of gripping suspense: the Gestapo's efforts to find the assassin; the workings of the Czech resistance fighters; and the traitor who is finally hoisted on his own petard...

The film is an indictment of Nazi brutality and a tribute to the oppressed who dared to fight it...

Bert and Fritz together at last!.......2006-12-12

This is a relatively straightforward propaganda melodrama, with nothing
particularly compelling to recommend it, but for one notable exception.

Bertold Brecht's villains and miscreants are all so full of gusto. They share kinship with the ones in Threepenny Opera and Mahagonny after all. It seems Brecht could not create a scoundrel he couldn't admire on a certain, mischievous level. The ones in this film are no exception, and lift it out of the "ordinary" into the realm of the "oddity".

why the end titles are ironic, etc........2006-06-15

Classic Expressionist images and sly situations by Fritz Lang; cinematography by James Wong Howe; propaganda poetry by Bertolt Brecht (so nice they recite it twice in succession, in case we've missed the point)--HANGMEN ALSO DIE is irresistable!

The story was inspired by the actual assassination of Reinhard Heydrick, who had earlier appeared as himself in Riefenstahl's TRIUMPH OF THE WILL. It's interesting to note that Heydrick continued to have a successful film career for another fifty years, for he also appears posthumously in at least eleven more motion pictures!

Some reviews complain about Brian Donleavy's alleged "lethargic" performance, though I found it consistent with his other straightforward work and quite acceptable. It's peculiar, however, to witness the Czech underground played with so many extremely American faces and mannerisms--Donleavy and O'Keefe in particular. I've never been a fan of Walter Brennan, between the geezer impersonations and his politics; but he does do very well in what elsewhere would be the "Walter Huston" role (NORTH STAR, DRAGON SEED, and others). If any non-German actor's performance seems weaker than others, it's Anna Lee's. But this entire topic only arises because the performances by German actors are so excellent.

In writings of Hollywood (notably Gore Vidal's SCREENING HISTORY and Waugh's THE LOVED ONE), much has been made of the British colony of actors and writers whose films before and during WW2 consciously endeavored to increase American sympathy and support for their homeland. But there's an unusual fascination in watching German actors (not to mention Fritz Lang and "Bert" Brecht) pulling out all the stops in this project.

Much is justifiably made of Hans Heinrich Twardowski's dazzling impersonation of Reinhard Heydrick at the beginning of the movie, which makes the "Nazis" of Otto Preminger, Conrad Veidt, and Erich von Stroheim look like Gandhi, but my "favorite" Nazi in the film is the satirical limning of a Gestapo officer in charge of "questioning" a couple key female suspects. Priceless! As is the performance of the old-lady grocer who refuses to rat out Anna Lee. She, the girl's gossipy aunt, and the Nazi in charge of the investigation have all stepped out of earlier Lang films (M, FURY, etc.) and bring tremendous Old World authenticity to their roles.

The final irony lies in the film's end-title. As Amazon notes, after the plot's presumed climax the end-title challenges whether this is REALLY the end of the story. In truth, the original film was several minutes longer, and included the execution of the hostages. Too grim for war propaganda of 1943? (Some suggest it was excised perhaps before its release in Europe; and it's known that HUAC banned the movie as possibly pro-Communist, and that the American public was "protected" from it for decades.) Or perhaps the studio said Genug already, for a film that's well over two hours long even WITH the snipping?

Doubtless that lopping contributed to Brecht's dissatisfaction with the final product. Meanwhile, the German-speaker who was hired to help him with the project, John Wexley, was indeed a Communist and, like Brecht, was later brought before HUAC--though with more dire consequences.

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