This is truly a riveting and original film. Filmed in glorious B&W with mostly a 28mm lens, this crisp and stark looking film never lets up in suspense and tension. Lancaster is at the top of his form and Paul Scofield steals the scenes he is in. The train whistle always jolts one out of his or her seat.
I have every single video version of this film and I just never get tired of this film.
I implore everyone to take this ride.
191 Reviews
Masterful Action Drama from Frankenheimer
Gordon-M30 June 2007
For me, the concept of an 'action' film is the most curious, as many examples of the genre seem very static to me - even today where it seems that anything can be shown on screen. A fight, car crash, explosion, etc is rehearsed, staged, simultaneously photographed and edited in a certain way that brings out and sometimes enhances the action. But, as the event is meticulously planned, rigorously controlled and sometimes, or always re-shot, spontaneity cannot be part of the action, or plays a small part. The action may be impressive, but it still seems unreal, too chaotic, or even more importantly, the sense that the action is not integrated into the story and maybe even more importantly, the attitude and motivation of the characters. Most action films are far from being this sophisticated.
Almost everything that Burt Lancaster does, or experiences in John Frankenheimer's, THE TRAIN seems real, necessary and interesting. He did all his own stunts in the film, learned to cast driving axle-bearings, which we see in the film in a continuous take. Frankenheimer was one of the true masters of the audacious, complicated, continuous scene and this film has many astounding set-pieces. The film is also one of the last great films shot in deep focus black and white (mostly with a 25mm lens) and it is the bold, striking compositions of the intense and vigorous action that elevates the film to an even higher level. Frankenheimer never took the bland, straightforward choices of blocking and positioning the camera in his films - certainly not in the first half of his career and THE TRAIN is a veritable textbook in imaginative visual directing.
There is great sense of danger in the film, much like the feeling that THE WAGES OF FEAR produces - and indeed in one scene, we see an actual train-crash that smashed nine cameras, and was only captured by one camera which yielded one of the most startling shots in all of Cinema! The whole film has sense of almost reckless daring, but was carefully controlled throughout. The scene where Albert Rémy uncouples the engine from the cars is insane! I can't think of another film where a key actor does something so dangerous on their own, with a stunt double.
But all of these scenes and shots serve the story, which is in itself fascinating. It asks the question: What is more important - irreplaceable works of art or the lives of common human beings? Col. von Waldheim is an unorthodox Nazi, who has a deep admiration for 'decadent' paintings and is willing to save them possess or save them at any cost , regardless of his orders. Paul Labiche knows trains inside out, but a painting means as much to him as "a string of pearls to an ape," but his morals are infinitely more compassionate than von Waldheim, which he makes clear without speech at the end - where, in fact, twenty minutes go by without Lancaster uttering a single word, which was unheard of them of a superstar male actor, but it totally appropriate. It is one of the great performances in all of war/action Cinema, I feel. And his antagonist is the legendary Paul Scofield in his first screen appearance in six years, who is, as always, magnificent. Everyone did a first-rate job on this film, yet only the screenwriters were nominated for the 1966 Oscars (the film was not released until May 1965 in the USA) which is yet another example of Academy madness.
Everything about THE TRAIN is unconventional. It was made at a time when other studios and directors would have gone for colour and CinemaScope, Frankenheimer went for deep-focus, black and white 1.66:1, went for authenticity, verisimilitude - no back-projection or models. Arthur Penn actually began the film, but I have never been able to ascertain how much material he shot, or why he was fired, but it would have been a very different movie; Frankenheimer's vigorous, but elegant style is so perfectly right for this film.
One thing that makes some films extra special is those that have many scenes where a process is at work and is shown in detail, seem more powerful. One cannot shown process in any other medium of art. Heist scenes, as in THE ASPHALT JUNGLE, RIFIFI, LE CERCLE ROUGE, etc are prime examples, the escape preparations in Robert Bresson's, A MAN ESCAPED and Jacques Becker's, LE TROU are also enthralling and 'make' each movie what it is. The working out of a life-or-death puzzle, as in BLOW-UP, THE CONVERSATION and De Palma's, BLOW OUT also illustrate the power of the medium. What makes these scenes - 'process of action' - interesting and occasionally powerful, is that they make us look at human interaction with matter is a different, even deeper way. Slow motion cinematography remains one of man's greatest inventions. Before it, we had no idea how fast moving objects worked or behaved. There was over 50 years of gunfire in Cinema, until we saw what a bullet leaving the barrel of a gun looked like, in THE OMEN (1976). It spins, for one thing. That must have surprised many people.
On the whole and after seeing it for the first time in about six years, I firmly feel that THE TRAIN is one of the greatest action films ever made, not only for its audacious crashes, bold style and unobtrusive score by Maurice Jarre, but also for it simply being a fascinating and unusual story this is brilliantly acted.
Almost everything that Burt Lancaster does, or experiences in John Frankenheimer's, THE TRAIN seems real, necessary and interesting. He did all his own stunts in the film, learned to cast driving axle-bearings, which we see in the film in a continuous take. Frankenheimer was one of the true masters of the audacious, complicated, continuous scene and this film has many astounding set-pieces. The film is also one of the last great films shot in deep focus black and white (mostly with a 25mm lens) and it is the bold, striking compositions of the intense and vigorous action that elevates the film to an even higher level. Frankenheimer never took the bland, straightforward choices of blocking and positioning the camera in his films - certainly not in the first half of his career and THE TRAIN is a veritable textbook in imaginative visual directing.
There is great sense of danger in the film, much like the feeling that THE WAGES OF FEAR produces - and indeed in one scene, we see an actual train-crash that smashed nine cameras, and was only captured by one camera which yielded one of the most startling shots in all of Cinema! The whole film has sense of almost reckless daring, but was carefully controlled throughout. The scene where Albert Rémy uncouples the engine from the cars is insane! I can't think of another film where a key actor does something so dangerous on their own, with a stunt double.
But all of these scenes and shots serve the story, which is in itself fascinating. It asks the question: What is more important - irreplaceable works of art or the lives of common human beings? Col. von Waldheim is an unorthodox Nazi, who has a deep admiration for 'decadent' paintings and is willing to save them possess or save them at any cost , regardless of his orders. Paul Labiche knows trains inside out, but a painting means as much to him as "a string of pearls to an ape," but his morals are infinitely more compassionate than von Waldheim, which he makes clear without speech at the end - where, in fact, twenty minutes go by without Lancaster uttering a single word, which was unheard of them of a superstar male actor, but it totally appropriate. It is one of the great performances in all of war/action Cinema, I feel. And his antagonist is the legendary Paul Scofield in his first screen appearance in six years, who is, as always, magnificent. Everyone did a first-rate job on this film, yet only the screenwriters were nominated for the 1966 Oscars (the film was not released until May 1965 in the USA) which is yet another example of Academy madness.
Everything about THE TRAIN is unconventional. It was made at a time when other studios and directors would have gone for colour and CinemaScope, Frankenheimer went for deep-focus, black and white 1.66:1, went for authenticity, verisimilitude - no back-projection or models. Arthur Penn actually began the film, but I have never been able to ascertain how much material he shot, or why he was fired, but it would have been a very different movie; Frankenheimer's vigorous, but elegant style is so perfectly right for this film.
One thing that makes some films extra special is those that have many scenes where a process is at work and is shown in detail, seem more powerful. One cannot shown process in any other medium of art. Heist scenes, as in THE ASPHALT JUNGLE, RIFIFI, LE CERCLE ROUGE, etc are prime examples, the escape preparations in Robert Bresson's, A MAN ESCAPED and Jacques Becker's, LE TROU are also enthralling and 'make' each movie what it is. The working out of a life-or-death puzzle, as in BLOW-UP, THE CONVERSATION and De Palma's, BLOW OUT also illustrate the power of the medium. What makes these scenes - 'process of action' - interesting and occasionally powerful, is that they make us look at human interaction with matter is a different, even deeper way. Slow motion cinematography remains one of man's greatest inventions. Before it, we had no idea how fast moving objects worked or behaved. There was over 50 years of gunfire in Cinema, until we saw what a bullet leaving the barrel of a gun looked like, in THE OMEN (1976). It spins, for one thing. That must have surprised many people.
On the whole and after seeing it for the first time in about six years, I firmly feel that THE TRAIN is one of the greatest action films ever made, not only for its audacious crashes, bold style and unobtrusive score by Maurice Jarre, but also for it simply being a fascinating and unusual story this is brilliantly acted.
An intense suspense War drama from the beginning to the end
Nazi_Fighter_David30 March 2008
The big star of Frankenheimer's film is the train itself... And the plot is based on the characteristic of railroadsengines and cars all over the tracks, cabs and steamall shown on enough detail to keep the viewer in great suspense
The aerial strike shots are also wonderfully taken
The film begins in Paris, August 2, 1944
It's 1511th day of German occupation The liberation of Paris seems very close
Nazi Colonel Von Waldheim (Paul Scofield) decides suddenly to remove by train to Germany the best of Impressionist masterpieces His objective is clear: "Money is a weapon. The contents are as negotiable as gold and more valuable."
Mademoiselle Villard (Suzanne Flon) informs the Resistance of the shipment The Resistance reaction is to stop the train without damaging the national heritage "They are part of France." But stopping the train is not a simple task You can get killed especially if you are French and the train is German
Labiche (Burt Lancaster), the Chief Inspector of the French Railway System, is not impressed However, he never communicates his political, ideological, or nationalistic convictions, "For certain things, we take the risk," he said; "but I won't waste lives on paintings."
When an aged engineer, Papa Boule (Michel Simon), is accused of sabotage in spite of saving the train through the Allied's bombs at the risk of his own life, Labiche is forced into combat
It begins with a long sequence where an armament train and the art train are both trying to leave the yard in the morning As they are being moved back and forth across the tracks, the viewer knows that British planes will hit the yard in that moment at exactly 10:00 o'clock
New complications are introduced, but the central conflict always returns to an obsessive art lover against a man with no appreciation for art Labiche's only concerns is to slow down the Nazis keeping himself and his compatriots alive
Now, two forces control the film The first is Frankenheimer's cleverness to choreograph the real trains Frankenheimer and his cinematographers capture the heat of the engines, the noise and sound of the cars in motion, the fault in the oil line, the crushing strength implicated when the machines come into collision and the derailment The second force is Lancaster, the "headache" of the fanatical obsessed Colonel whose desire is to see the priceless paintings in Nazi Germany...
The film begins in Paris, August 2, 1944
It's 1511th day of German occupation The liberation of Paris seems very close
Nazi Colonel Von Waldheim (Paul Scofield) decides suddenly to remove by train to Germany the best of Impressionist masterpieces His objective is clear: "Money is a weapon. The contents are as negotiable as gold and more valuable."
Mademoiselle Villard (Suzanne Flon) informs the Resistance of the shipment The Resistance reaction is to stop the train without damaging the national heritage "They are part of France." But stopping the train is not a simple task You can get killed especially if you are French and the train is German
Labiche (Burt Lancaster), the Chief Inspector of the French Railway System, is not impressed However, he never communicates his political, ideological, or nationalistic convictions, "For certain things, we take the risk," he said; "but I won't waste lives on paintings."
When an aged engineer, Papa Boule (Michel Simon), is accused of sabotage in spite of saving the train through the Allied's bombs at the risk of his own life, Labiche is forced into combat
It begins with a long sequence where an armament train and the art train are both trying to leave the yard in the morning As they are being moved back and forth across the tracks, the viewer knows that British planes will hit the yard in that moment at exactly 10:00 o'clock
New complications are introduced, but the central conflict always returns to an obsessive art lover against a man with no appreciation for art Labiche's only concerns is to slow down the Nazis keeping himself and his compatriots alive
Now, two forces control the film The first is Frankenheimer's cleverness to choreograph the real trains Frankenheimer and his cinematographers capture the heat of the engines, the noise and sound of the cars in motion, the fault in the oil line, the crushing strength implicated when the machines come into collision and the derailment The second force is Lancaster, the "headache" of the fanatical obsessed Colonel whose desire is to see the priceless paintings in Nazi Germany...
An unusual war movie but still good
bellino-angelo201416 August 2018
The movie is about a episode that happened in 1944. When France was still occupied by the Nazis, they decided to steal paintings from the Paris museums. This film is about a shipment that the French has to save before he ends to Germans, but they also don't want to be destroyed in the process.
Burt Lancaster stars as a French train engineer that has to transport the shipment. At first is not a easy task, but he succeeds in the end. Meanwhile he becomes friend with a hotel owner played by French actress Jeanne Moreau (that passed away last year). And the other members of the cast are fine. Paul Scofield as a German general is great (and Scofield also starred in other great movies after this), and it was a treat seeing French comedian Michel Simon in a war movie (just like Bourvil in THE LONGEST DAY).
This movie had great direction by John Frankenheimer, great performances by all the actors, and also great photography in Black and White. Although a bit dragged in some places, it was still great to watch! And as a fan of the history from 1850 until these days, I liked the movie for his accuracy and his action scenes.
Burt Lancaster stars as a French train engineer that has to transport the shipment. At first is not a easy task, but he succeeds in the end. Meanwhile he becomes friend with a hotel owner played by French actress Jeanne Moreau (that passed away last year). And the other members of the cast are fine. Paul Scofield as a German general is great (and Scofield also starred in other great movies after this), and it was a treat seeing French comedian Michel Simon in a war movie (just like Bourvil in THE LONGEST DAY).
This movie had great direction by John Frankenheimer, great performances by all the actors, and also great photography in Black and White. Although a bit dragged in some places, it was still great to watch! And as a fan of the history from 1850 until these days, I liked the movie for his accuracy and his action scenes.
Loco motives
tieman6417 November 2014
Warning: Spoilers
John Frankenheimer's "The Train" stars Burt Lancaster as Paul Labiche, a French Resistance member. It is the 1511th day of the German occupation, and Paul is attempting to prevent Colonel Franz von Waldheim (Paul Scofield) from transporting French art collections out of France and into Germany.
Throughout the 1960s, Franhenheimer made a series of films which flaunted their audacious cutting and kinetic camera work. "The Train" is no different. Virtually every shot is special, the film packed with logistically complex sequences, fine location photography and beautiful, now-extinct steam engines, ink-black monsters which lend the film an air of techno-romance.
"Beauty belongs to the man who can appreciate it!" Waldheim yells, his words speaking to the misguided exceptionalism of whole nations. Labiche shoots him and walks away. This simple moment of revenge is complicated throughout the picture. No painting is worth a life, Labiche tells us, yet strewn around him are the consequences of his very plan to thwart Waldheim; hundreds dead, all for art which Labiche personally has no interest in. Beauty belongs to the man who appreciates, Labiche perhaps wonders as the film fades to black, so long as he's French?
8/10 - One of Frankenheimer's finest. See "Decision Before Dawn" and "The Spy Who Came In From the Cold".
Throughout the 1960s, Franhenheimer made a series of films which flaunted their audacious cutting and kinetic camera work. "The Train" is no different. Virtually every shot is special, the film packed with logistically complex sequences, fine location photography and beautiful, now-extinct steam engines, ink-black monsters which lend the film an air of techno-romance.
"Beauty belongs to the man who can appreciate it!" Waldheim yells, his words speaking to the misguided exceptionalism of whole nations. Labiche shoots him and walks away. This simple moment of revenge is complicated throughout the picture. No painting is worth a life, Labiche tells us, yet strewn around him are the consequences of his very plan to thwart Waldheim; hundreds dead, all for art which Labiche personally has no interest in. Beauty belongs to the man who appreciates, Labiche perhaps wonders as the film fades to black, so long as he's French?
8/10 - One of Frankenheimer's finest. See "Decision Before Dawn" and "The Spy Who Came In From the Cold".
A Different Kind Of WWII Movie, And One Of The Best
ccthemovieman-117 June 2006
This is one of my all-time favorite war movies, always rated in the top three since I first saw it years ago. I rate it so high because of four main things:
1 - Wonderful black-and-white photography; 2 - an interesting cast led by two great actors, Burt Lancaster and Paul Scofield; 3 - An intelligent, different kind of war story revolving around stolen works of great art; 4 - Just the right amount of action.
Not only the blacks-and-whites look good but the grays, too. The nighttime train shots with the white steam coming out is just spectacular. You can feel the grease and grime on these railroad men as the work on the train. The person best exemplifying that is the Frenchman Michel Simon who plays "Papa Boule," the engineer who begins the train trip and then is shot after being discovered sabotaging it. What a great face this man had! He, Lancaster and other grimy railroad men with soot all over their faces give this a real authentic feel. Most of the cast is either French or German but if you have a hard time understanding a few lines, you can put on the English subtitles if you are playing the DVD.
This is a pretty long film but it doesn't have many lulls, especially the train starts to roll. I have viewed this a number of times and have never been disappointed with it. Director John Frankenheimer gives some interesting commentary on this, too, so you might to check that out on the disc.
1 - Wonderful black-and-white photography; 2 - an interesting cast led by two great actors, Burt Lancaster and Paul Scofield; 3 - An intelligent, different kind of war story revolving around stolen works of great art; 4 - Just the right amount of action.
Not only the blacks-and-whites look good but the grays, too. The nighttime train shots with the white steam coming out is just spectacular. You can feel the grease and grime on these railroad men as the work on the train. The person best exemplifying that is the Frenchman Michel Simon who plays "Papa Boule," the engineer who begins the train trip and then is shot after being discovered sabotaging it. What a great face this man had! He, Lancaster and other grimy railroad men with soot all over their faces give this a real authentic feel. Most of the cast is either French or German but if you have a hard time understanding a few lines, you can put on the English subtitles if you are playing the DVD.
This is a pretty long film but it doesn't have many lulls, especially the train starts to roll. I have viewed this a number of times and have never been disappointed with it. Director John Frankenheimer gives some interesting commentary on this, too, so you might to check that out on the disc.
Peerless war movie
goldfish-98 November 1999
The movie is about the Nazis taking 'degenerate' modern paintings out of Paris as the allies are approaching. The officer in charge of the spoils, Colonel Von Waldheim, is secretly in love with the art he is supposed to hate; his official motivation is based on "cash value." The French train workers, led by Labiche, have no appreciation for the art and are unaware of its cultural importance, but nevertheless fight the Germans out of patriotism, against their better instincts.
Frantic, weary tension comes from the closeness of end of the war, a desperate time that drives the characters well past sane restraint. The Germans can no longer deny their impending doom. Grit comes from massive steam locomotives shot in black and white. The mortal struggle plays out on a personal level. The action is relentless.
The director, John Frankenheimer, relies on the intelligence and empathy of the audience to convey his story. Much of the movie is concerned with the mechanicals of how a railroad works. It shows the dignity and solidarity of the workers, and their huge effort.
The theme is the waste, the cost of war -- what is worth fighting for, what you actually do fight for even though it does not seem to be worth it, and the capricious outcome. The tally comes at the final scene.
"The Train" is a perfect action-adventure war drama.
Frantic, weary tension comes from the closeness of end of the war, a desperate time that drives the characters well past sane restraint. The Germans can no longer deny their impending doom. Grit comes from massive steam locomotives shot in black and white. The mortal struggle plays out on a personal level. The action is relentless.
The director, John Frankenheimer, relies on the intelligence and empathy of the audience to convey his story. Much of the movie is concerned with the mechanicals of how a railroad works. It shows the dignity and solidarity of the workers, and their huge effort.
The theme is the waste, the cost of war -- what is worth fighting for, what you actually do fight for even though it does not seem to be worth it, and the capricious outcome. The tally comes at the final scene.
"The Train" is a perfect action-adventure war drama.
War on the train
TheLittleSongbird11 February 2020
The premise truly fascinated me, a premise or at least subject that sounded like the film would be a powerful one. John Frankenheimer was responsible for some great work, 'The Manchurian Candidate' instantly coming to my mind as being one of his best. The cast would be reason enough on its own, so imagine having the subject and Frankenheimer as director also being big main reasons, to see it, having admired a good deal of work from both Burt Lancaster and Paul Scofield.
Seeing 'The Train' two days ago, what instantly came to my mind after watching was "wow!" Like most people here, to me this was a pretty exceptional film that really packs a punch in a way that not many films of its year, decade or even genre at this point of film history did. Truly powerful work that took risks and pulls no punches in a way that still has the ability to shock, no trivialising or sugar-coating here. Quite the opposite. As far as WWII films go, it is one of the best and despite being highly praised deservedly more people should know about it, it is really quite something and unlike a lot of films personally seen.
Maybe 'The Train' runs a little too long by about 15 minutes or so, which occasionally (emphasis on that word) affects the pace.
On occasions too early on, for my tastes Maurice Jarre's music score jarred a bit and like it belonged more in a comedy.
Conversely, there are so many strengths (which is actually pretty much everything else) and everything else is executed flawlessly. 'The Train' is quite masterful visually, the photography is full of atmosphere and played a huge part in making the train itself like its own character. Have never seen a train so cleverly, intimately and powerfully used. The French locations are incredibly well utilised, some of the best use of French locations for any film seen in a long time from personal view. On a technical level, the action with the train is enough to make the jaw drop today. Frankenheimer's direction is hugely accomplished and not since 'The Big Parade' as far as recent film viewings go has there been direction for any film that was this visually flawless. Most of Jarre's score works very well, when it becomes more subtle and more harmonious with the atmosphere it is quite hauntingly unsettling.
Script is very intelligent and thought-provoking, taut enough while allowing breathing space yet not rambling. The story is hugely compelling, is very intense especially the exciting action with the train and is emotionally powerful. Found myself quite moved and shocked at how much the more uncompromising moments (and there are many) wrenched the gut, haven't seen an ending this poetic in a while either. The characters are well defined and interesting. There are great performances from all, with Lancaster superb in one of his best performances. He tells so much with his face and eyes and could tell he meant every word with his line delivery, he is especially good in the last twenty minutes where words are few but one intensely feels his hurt and anger. Scofield has seldom been nastier or at times even frightening. Jeanne Moreau's role isn't huge but she is sympathetic in it and an atypically cast Michel Simon is very telling in his.
In summary, exceptional and one of the best WWII films. 9/10
Seeing 'The Train' two days ago, what instantly came to my mind after watching was "wow!" Like most people here, to me this was a pretty exceptional film that really packs a punch in a way that not many films of its year, decade or even genre at this point of film history did. Truly powerful work that took risks and pulls no punches in a way that still has the ability to shock, no trivialising or sugar-coating here. Quite the opposite. As far as WWII films go, it is one of the best and despite being highly praised deservedly more people should know about it, it is really quite something and unlike a lot of films personally seen.
Maybe 'The Train' runs a little too long by about 15 minutes or so, which occasionally (emphasis on that word) affects the pace.
On occasions too early on, for my tastes Maurice Jarre's music score jarred a bit and like it belonged more in a comedy.
Conversely, there are so many strengths (which is actually pretty much everything else) and everything else is executed flawlessly. 'The Train' is quite masterful visually, the photography is full of atmosphere and played a huge part in making the train itself like its own character. Have never seen a train so cleverly, intimately and powerfully used. The French locations are incredibly well utilised, some of the best use of French locations for any film seen in a long time from personal view. On a technical level, the action with the train is enough to make the jaw drop today. Frankenheimer's direction is hugely accomplished and not since 'The Big Parade' as far as recent film viewings go has there been direction for any film that was this visually flawless. Most of Jarre's score works very well, when it becomes more subtle and more harmonious with the atmosphere it is quite hauntingly unsettling.
Script is very intelligent and thought-provoking, taut enough while allowing breathing space yet not rambling. The story is hugely compelling, is very intense especially the exciting action with the train and is emotionally powerful. Found myself quite moved and shocked at how much the more uncompromising moments (and there are many) wrenched the gut, haven't seen an ending this poetic in a while either. The characters are well defined and interesting. There are great performances from all, with Lancaster superb in one of his best performances. He tells so much with his face and eyes and could tell he meant every word with his line delivery, he is especially good in the last twenty minutes where words are few but one intensely feels his hurt and anger. Scofield has seldom been nastier or at times even frightening. Jeanne Moreau's role isn't huge but she is sympathetic in it and an atypically cast Michel Simon is very telling in his.
In summary, exceptional and one of the best WWII films. 9/10
Nonverbal Action Movie
evanston_dad23 July 2019
A nonverbal action movie that stars Burt Lancaster as a train operator trying to thwart the plans of Nazi operatives to move precious artworks from France to Germany in the last losing days of WWII.
John Frankenheimer directs in stark black and white, and the film has his trademarks all over it -- kinetic compositions, rapid-fire editing, ragged documentary look and feel. Paul Scofield also stars as the obsessed Nazi and Jeanne Moreau has a role as a French woman who reluctantly aids and abets Lancaster. The sheer physical production is astounding; in the days before CGI would have done everything for them, Frankenheimer and company staged massive set pieces involving bombed railroad yards, crashing trains, you name it. I can only imagine how much pressure the special effects guys were under to get everything right the first time because re-staging it for a second try would have been a bear.
"The Train" brought Franklin Coen and Frank Davis an Academy Award nomination for Best Original Story and Screenplay at the 1965 Oscars.
Grade: A-
John Frankenheimer directs in stark black and white, and the film has his trademarks all over it -- kinetic compositions, rapid-fire editing, ragged documentary look and feel. Paul Scofield also stars as the obsessed Nazi and Jeanne Moreau has a role as a French woman who reluctantly aids and abets Lancaster. The sheer physical production is astounding; in the days before CGI would have done everything for them, Frankenheimer and company staged massive set pieces involving bombed railroad yards, crashing trains, you name it. I can only imagine how much pressure the special effects guys were under to get everything right the first time because re-staging it for a second try would have been a bear.
"The Train" brought Franklin Coen and Frank Davis an Academy Award nomination for Best Original Story and Screenplay at the 1965 Oscars.
Grade: A-
Frankenheimer turns The Train into a breathing character of steam and steel
kijii13 November 2016
During WWII, in the final day of the German occupation of France, a German colonel and a true art lover, Col. Von Waldheim (Paul Scofield), orders his troops to crate and transport all the great impressionistic paintings (from the Jeu de Paume Museum) that he can possibly get his hands on. These paintings are not only among the best in the world, they are worth millions in Reichsmarks.
The crated paintings are loaded onto a train to be sent to Germany. But, the train must arrive in Germany before the Allies liberate France. While von Waldheim is obsessed with getting the train OUT of France, the French Resistance, represented by Labiche (Burt Lancaster), becomes equally determined to keep the train IN France while waiting for the Allied liberation. Very few in the Resistance understand the artistic value of the cargo, but they know that it represents 'their nation's honor' and see how valuable it must be, based on von Waldheim's determination to have it. And, while the Germans control the trains, the railroad workers form a great network of Resistance fighters.
The Resistance does everything in its power to sabotage their own rail system and lead the Germans away from Germany. Small French towns are 're-labeled' to make the Germans (riding on the train) think that they are going one way when they are really going in another; trains are re- routed by conductors, switchmen, and engineers; and rail cars are separated from engines, used to block tracks and cause train wrecks. Germans, in their frustration, kill many Frenchman in retaliation. However, the battle over the train continues to the bitter end.
Another Frankenheimer black-and-white masterpiece, this action movie is riveting from beginning to end. It pits the wills, skills, and ingenuity of the two principal characters in a seemly ceaseless series of cat-and-mouse ploys to control the train. The cinematography is also great. The constant imagery of trains being twisted and turned, stopped and started, heaving and letting off stem, stand in stark contrast to the art that they carry and the men that try to control them. In this movie, Frankenheimer turns trains and rails into 'living, breathing characters of steam and steel.'
Scofield and Lancaster are both excellent in their opposing roles. I would rank this movie among the best movies I have ever seen!!
The crated paintings are loaded onto a train to be sent to Germany. But, the train must arrive in Germany before the Allies liberate France. While von Waldheim is obsessed with getting the train OUT of France, the French Resistance, represented by Labiche (Burt Lancaster), becomes equally determined to keep the train IN France while waiting for the Allied liberation. Very few in the Resistance understand the artistic value of the cargo, but they know that it represents 'their nation's honor' and see how valuable it must be, based on von Waldheim's determination to have it. And, while the Germans control the trains, the railroad workers form a great network of Resistance fighters.
The Resistance does everything in its power to sabotage their own rail system and lead the Germans away from Germany. Small French towns are 're-labeled' to make the Germans (riding on the train) think that they are going one way when they are really going in another; trains are re- routed by conductors, switchmen, and engineers; and rail cars are separated from engines, used to block tracks and cause train wrecks. Germans, in their frustration, kill many Frenchman in retaliation. However, the battle over the train continues to the bitter end.
Another Frankenheimer black-and-white masterpiece, this action movie is riveting from beginning to end. It pits the wills, skills, and ingenuity of the two principal characters in a seemly ceaseless series of cat-and-mouse ploys to control the train. The cinematography is also great. The constant imagery of trains being twisted and turned, stopped and started, heaving and letting off stem, stand in stark contrast to the art that they carry and the men that try to control them. In this movie, Frankenheimer turns trains and rails into 'living, breathing characters of steam and steel.'
Scofield and Lancaster are both excellent in their opposing roles. I would rank this movie among the best movies I have ever seen!!
More Drama Than Action
kirbylee70-599-52617923 October 2017
Warning: Spoilers
I've been a fan of director John Frankenheimer for some time. The director of films like SEVEN DAYS IN MAY, THE FIXER, BLACK Sunday and RONIN always delivered plenty of action balanced with enough story to make the films hold your interest from start to finish. I'd recalled hearing of THE TRAIN years ago, remembered seeing it advertised when it was to be on television but never saw it until now.
In 1944 the Germans were sensing the end was near. During the war they had ransacked the museums of the countries they invaded and a large collection of art has been stockpiled. In an effort to retain the art and insure it isn't destroyed in bombings Colonel Franz von Waldheim (Paul Scofield) is determined to ship the treasures to Germany at any costs.
Resistance leaders in France know that the allied forces arrival is imminent and want to make sure that the art never leaves their country. With that arrival around the corner all they need to do is make sure the train never leaves the country. They set into motion a plan to make sure that this happens.
Resistance leader and an inspector for the SNCF (French National Railway Corporation) Paul Labiche (Burt Lancaster) argues that it's not worth losing the lives of his men to save a load of paintings. When an elderly engineer is executed for trying to thwart the train on his own Labiche agrees to help and a plan is set in motion to stop the train.
The movie offers more story than action here which many were expecting given the artwork found in posters for the film as well as the trailer. Even with that being the case it makes for an interesting movie, something different than most war films at that time or since. The clash of wills between the two men is classic. What is different is their motivations. Von Waldheim is the bad buy and yet cares more about the artwork than the good guy Labiche. That's something different to mull over.
Lancaster and Frankenheimer worked together on a number of films and their pairing here works well for both of them. Lancaster is provided a vehicle that gives him the chance to flex some acting muscle as well as add enough action to satisfy his fans. Frankenheimer adds to the list of films he made that showed he was a capable director no matter what he was given.
Twilight Time released this film before but it quickly sold out. Requests were enough that they are releasing it once more in this encore edition but as is always the case it is limited to just 3,000 copies so those interested should jump before it's gone once more. Extras include an isolated score track, an audio commentary with film historians Julie Kirgo, Paul Seydor and Nick Redman, an audio commentary with director Frankenheimer and the original theatrical trailer.
In 1944 the Germans were sensing the end was near. During the war they had ransacked the museums of the countries they invaded and a large collection of art has been stockpiled. In an effort to retain the art and insure it isn't destroyed in bombings Colonel Franz von Waldheim (Paul Scofield) is determined to ship the treasures to Germany at any costs.
Resistance leaders in France know that the allied forces arrival is imminent and want to make sure that the art never leaves their country. With that arrival around the corner all they need to do is make sure the train never leaves the country. They set into motion a plan to make sure that this happens.
Resistance leader and an inspector for the SNCF (French National Railway Corporation) Paul Labiche (Burt Lancaster) argues that it's not worth losing the lives of his men to save a load of paintings. When an elderly engineer is executed for trying to thwart the train on his own Labiche agrees to help and a plan is set in motion to stop the train.
The movie offers more story than action here which many were expecting given the artwork found in posters for the film as well as the trailer. Even with that being the case it makes for an interesting movie, something different than most war films at that time or since. The clash of wills between the two men is classic. What is different is their motivations. Von Waldheim is the bad buy and yet cares more about the artwork than the good guy Labiche. That's something different to mull over.
Lancaster and Frankenheimer worked together on a number of films and their pairing here works well for both of them. Lancaster is provided a vehicle that gives him the chance to flex some acting muscle as well as add enough action to satisfy his fans. Frankenheimer adds to the list of films he made that showed he was a capable director no matter what he was given.
Twilight Time released this film before but it quickly sold out. Requests were enough that they are releasing it once more in this encore edition but as is always the case it is limited to just 3,000 copies so those interested should jump before it's gone once more. Extras include an isolated score track, an audio commentary with film historians Julie Kirgo, Paul Seydor and Nick Redman, an audio commentary with director Frankenheimer and the original theatrical trailer.
Expert suspense thriller from John Frankenheimer
Leofwine_draca9 October 2016
Wow. I wasn't expecting anything like this. THE TRAIN is a black and white suspense thriller set in the dying days of Nazi-occupied France. It's one of John Frankenheimer's earliest films and it has all of the suspense, action, and excitement of his late-era productions like RONIN. I thought this would be a typical gung-ho war effort of the kind that Frank Sinatra and George Peppard used to star in, but it's something else entirely.
The subject of the film is trains, in particular steam trains. The plot's Macguffin is a shipment of priceless French paintings which Nazi colonel Paul Scofield is attempting to transport to Germany before the Americans arrive in Paris. Burt Lancaster is the tough and imposing resistance fighter who opposes him. The rest of the film is a battle of wills and wits between the two men.
Although this is a quite lengthy production it's never boring. Even the dialogue scenes are snappy and bristle with suspense. However, it's the action where this film really hits. The action is terse, realistic, and fast. Frankenheimer was determined to make his film as realistic as possible so there are no special effects or model shots here, just real engines that get crashed and blown up with regularity. I liked Lancaster here better than anywhere else, Scofield's bad guy is perfectly hateable, and the supporting cast are excellent. The last twenty minutes in particular remove dialogue from the equation and focus on nail-biting suspense and heroism. It's a fantastic little movie and one which deserves to be wider known.
The subject of the film is trains, in particular steam trains. The plot's Macguffin is a shipment of priceless French paintings which Nazi colonel Paul Scofield is attempting to transport to Germany before the Americans arrive in Paris. Burt Lancaster is the tough and imposing resistance fighter who opposes him. The rest of the film is a battle of wills and wits between the two men.
Although this is a quite lengthy production it's never boring. Even the dialogue scenes are snappy and bristle with suspense. However, it's the action where this film really hits. The action is terse, realistic, and fast. Frankenheimer was determined to make his film as realistic as possible so there are no special effects or model shots here, just real engines that get crashed and blown up with regularity. I liked Lancaster here better than anywhere else, Scofield's bad guy is perfectly hateable, and the supporting cast are excellent. The last twenty minutes in particular remove dialogue from the equation and focus on nail-biting suspense and heroism. It's a fantastic little movie and one which deserves to be wider known.
One of the last in a long line of b&w WWII mainstays...
secondtake24 November 2010
The Train (1964)
A tightly compressed idea stretched into a small epic of a movie. It's actually quite absorbing if you don't expect anything terribly original or exuberant. The key player is Burt Lancaster, who has a physical, heroic role, often with few words, and he pulls it off with grit and intelligence. There are caricatures in the cast, almost inevitably--the Nazi officers with arrogance and cold determination, the French villagers who have wit and warmth and a spirit to win--but it's part of what these movies need, almost, to be classic WWII movies.
This is almost a late entry into the second big boom in war flicks in the early 1960s, and this one, for all its black and white ambition, is rather intimate by comparison. The twist is the good guys are out to save some European artworks, masterpieces the Germans want to get into Germany before the war ends. It's solid and steady, well made by a great director from the time (John Frankenheimer, who did "Manchurian Candidate" among others) a shadow of some other war films, but it has an integrity of its own that WWII fans will appreciate.
A tightly compressed idea stretched into a small epic of a movie. It's actually quite absorbing if you don't expect anything terribly original or exuberant. The key player is Burt Lancaster, who has a physical, heroic role, often with few words, and he pulls it off with grit and intelligence. There are caricatures in the cast, almost inevitably--the Nazi officers with arrogance and cold determination, the French villagers who have wit and warmth and a spirit to win--but it's part of what these movies need, almost, to be classic WWII movies.
This is almost a late entry into the second big boom in war flicks in the early 1960s, and this one, for all its black and white ambition, is rather intimate by comparison. The twist is the good guys are out to save some European artworks, masterpieces the Germans want to get into Germany before the war ends. It's solid and steady, well made by a great director from the time (John Frankenheimer, who did "Manchurian Candidate" among others) a shadow of some other war films, but it has an integrity of its own that WWII fans will appreciate.
Flawed Plot
ponchito-0058820 September 2020
An excellent movie, very exciting, riveting actually.
However the entire plot falls flat. If an Allied victory is only days away, perhaps one day away, there would be no need to steal the art masterpieces.
If Germany was indeed defeated at this point then the paintings would have to be returned to France eventually.
At this point evacuation of German forces should have been the first, priority, to defend the Fatherland itself, to protect Berlin, to wrangle at least minor advantage in the ultimate peace settlement.
At best Germany could declare a unilateral cease fire, and hope for the best.
Form a new government to sue for peace. Spare their own people additional suffering.
A personal favorite and semi-overlooked classic
ggh629 November 2001
A standout WWII drama, loosely based on a true story. In 1944, as the Allies spread across France from the Normandy landings, the Nazis looted Paris art museums and loaded the works onto a train, with the intention of carrying them back to the Fatherland and selling or bartering them for scarce war materials. A fairly hare-brained scheme, to be sure, and in reality the train never made it further than a siding just east of the city, but that shouldn't hinder one's enjoyment of what turns out to be a classic action film.
The centerpiece of the movie is a clash of wills between Von Waldheim, a cultured but iron-backed Nazi colonel (well-played by Paul Scofield) charged with getting the stolen artworks to Germany, and a taciturn railway troubleshooter named Labiche (Burt Lancaster). Von Waldheim first enlists Labiche as 'insurance' against any monkey business during the train's journey. Labiche, though, happens to have Resistance connections and, with serious reservations, is drawn into a desperate, improvised plot to stop the train, preferably without damaging the precious artifacts inside.
Although easily enjoyed as a straight action flick, what gives the film weight is the supporting story, in which Labiche at first argues against wasting precious lives on a few crates of paintings he's never seen, then gradually comes round as he begins to understand that the Nazis are effectively carrying off a large piece of the heart of France. Beautiful deep-focus black and white photography, and solid supporting performances by a mostly French cast (of which Jeanne Moreau may be the best-known), convincingly evoke the bleak misery of the Occupation. John Frankenheimer's economical direction manages to present highly-charged action scenes without glossing over the human cost, as Von Waldheim exacts savage reprisals against escalating efforts to hinder the train's passage.
Lancaster, who performed his own stunts, is excellent, furiously athletic as he slides down ladders, leaps onto moving locomotives, and charges over ridges and fields in pursuit of the train. At the same time, he manages to effectively bring a subtle authenticity to his portrayal of the weary, fatalistic railwayman.
Finally, the action set-pieces are nothing short of stunning, and include the train's mad dash through an Allied carpet-bombing attack, a strafing raid on a speeding locomotive, and several wrecks and derailments, all staged full-scale with period equipment donated by the French national railway. Well worth obtaining on DVD, the film may be hard to find on broadcast television these days.
The centerpiece of the movie is a clash of wills between Von Waldheim, a cultured but iron-backed Nazi colonel (well-played by Paul Scofield) charged with getting the stolen artworks to Germany, and a taciturn railway troubleshooter named Labiche (Burt Lancaster). Von Waldheim first enlists Labiche as 'insurance' against any monkey business during the train's journey. Labiche, though, happens to have Resistance connections and, with serious reservations, is drawn into a desperate, improvised plot to stop the train, preferably without damaging the precious artifacts inside.
Although easily enjoyed as a straight action flick, what gives the film weight is the supporting story, in which Labiche at first argues against wasting precious lives on a few crates of paintings he's never seen, then gradually comes round as he begins to understand that the Nazis are effectively carrying off a large piece of the heart of France. Beautiful deep-focus black and white photography, and solid supporting performances by a mostly French cast (of which Jeanne Moreau may be the best-known), convincingly evoke the bleak misery of the Occupation. John Frankenheimer's economical direction manages to present highly-charged action scenes without glossing over the human cost, as Von Waldheim exacts savage reprisals against escalating efforts to hinder the train's passage.
Lancaster, who performed his own stunts, is excellent, furiously athletic as he slides down ladders, leaps onto moving locomotives, and charges over ridges and fields in pursuit of the train. At the same time, he manages to effectively bring a subtle authenticity to his portrayal of the weary, fatalistic railwayman.
Finally, the action set-pieces are nothing short of stunning, and include the train's mad dash through an Allied carpet-bombing attack, a strafing raid on a speeding locomotive, and several wrecks and derailments, all staged full-scale with period equipment donated by the French national railway. Well worth obtaining on DVD, the film may be hard to find on broadcast television these days.
Extraordinary film that never gets old - absolute perfection
antimatter335 August 2019
Like the paintings that are the real subject of this film, here we have immortal art from John Frankenheimer.
And make no mistake - this is a film with a central idea - that culture is not just in the eyes of the beholder, but is a national treasure, shared by all, and what gives the people their actual value, beyond their living and dying.
The fanatical, theiving Colonel von Waldheim, believes that he, representing the German Master Race, is entitled to these treasures of France, a defeated and inferior nation of Untermenschen, who have forfeited them on the battlefield. He is determined to have them, knowing that the loss of the war is a mere detail in the great Kulturkampf. His great crime originates in his very appreciation of the humanism and artistry and creativity that his side is doing all it can to eradicate. And his enemy, Labiche, is a simple, uneducated and uncultured man, whose salvation is his faith in his own people, and his open heart. This central, ironic idea motivates the entire film. And here is the greatest irony - here is an action film, as thrilling and as well staged as any, which is not about the action. The idea could have been played out on an off-Broadway stage with wooden toys, and the story would have been just as compelling.
The film-making technique is simply some of the most brilliant ever to be undertaken. There are countless shots which leave the viewer gaping in amazement. The editing is such that a nearly unbearable tension is developed. Night and day shots intertwine in an hypnotic wash that seems to extend the timeline to weeks, although in fact only 2 days are passed. In all the film I did not see one single intrusion of the world of 1964 on that of 1944 France. I was on that train. I knew what the stakes were.
There is no point in racking up more points for Frankenheimer here. This is an effort worthy of Kubrick and Kurosawa. There cannot possibly be a better example of the film maker's art. And we have not even touched on the acting, which is itself a miracle in all its particulars. Not a single performance deserves anything but the highest praise.
It is good to have films such as this. We can always return to them when we need to remember what film is really all about - an art form as great as literature, and yes, as great as those boxes of paintings by the side of the road.
And make no mistake - this is a film with a central idea - that culture is not just in the eyes of the beholder, but is a national treasure, shared by all, and what gives the people their actual value, beyond their living and dying.
The fanatical, theiving Colonel von Waldheim, believes that he, representing the German Master Race, is entitled to these treasures of France, a defeated and inferior nation of Untermenschen, who have forfeited them on the battlefield. He is determined to have them, knowing that the loss of the war is a mere detail in the great Kulturkampf. His great crime originates in his very appreciation of the humanism and artistry and creativity that his side is doing all it can to eradicate. And his enemy, Labiche, is a simple, uneducated and uncultured man, whose salvation is his faith in his own people, and his open heart. This central, ironic idea motivates the entire film. And here is the greatest irony - here is an action film, as thrilling and as well staged as any, which is not about the action. The idea could have been played out on an off-Broadway stage with wooden toys, and the story would have been just as compelling.
The film-making technique is simply some of the most brilliant ever to be undertaken. There are countless shots which leave the viewer gaping in amazement. The editing is such that a nearly unbearable tension is developed. Night and day shots intertwine in an hypnotic wash that seems to extend the timeline to weeks, although in fact only 2 days are passed. In all the film I did not see one single intrusion of the world of 1964 on that of 1944 France. I was on that train. I knew what the stakes were.
There is no point in racking up more points for Frankenheimer here. This is an effort worthy of Kubrick and Kurosawa. There cannot possibly be a better example of the film maker's art. And we have not even touched on the acting, which is itself a miracle in all its particulars. Not a single performance deserves anything but the highest praise.
It is good to have films such as this. We can always return to them when we need to remember what film is really all about - an art form as great as literature, and yes, as great as those boxes of paintings by the side of the road.
forget 'long war film' and think Burt Lancaster giving his all
christopher-underwood11 March 2017
Real surprise, this for me, particularly bearing in mind the length (which I wasn't aware of till after watching) never mind the genre! But, forget 'long war film' and think Burt Lancaster giving his all, low key naturalistic acting and a stinking physical performance. It appears at first as if he is just going to be some suited 'yes' man for the Germans but then gets put upon to drive the contentious train. We are not quite sure at the start as to who cares what about this enormous collection of French impressionist paintings and by the end we are wondering about human life versus oil paintings. In between there is the most incredible non stop, human story driven, massive action film with the most amazing steam train action I've ever seen. Nobody comes out of this particularly well but that we are not held up for mournful moments with dying children or romantic pauses for divided lovers, just full on desperate people getting on and doing what seems best without to much pause for thought or much else. The night scenes are particularly effective with the great monstrous engines pulsing along, smoke billowing. Aircraft attacks add to the thrills but it is still Lancaster that dominates the screen. What a presence.
"Men want to be heroes and the widows mourn".
brogmiller11 July 2020
Although John Frankenheimer's 'Manchurian Candidate' probably has greater resonance historically there is no doubting that 'The Train' is an accomplished and satisfying film. He was brought in to replace Arthur Penn whose concept of the film did not exactly agree with that of Burt Lancaster who felt that Frankenheimer would be more 'accommodating'. In light of the films critical and commercial success one has to say that Lancaster made the right choice. Inspired by the book of Rose Valland, curator of Jeu de Paume, who becomes Mlle Villard in the film, it tells of how a large collection of priceless French modern art is prevented from being sent by train to Germany in 1944. This was actually achieved by the French Resistance employing 'red tape' to delay the train's departure. In the film of course more dramatic and suspenseful delaying tactics are employed!
Logistically this must have been a difficult film to make and one cannot fail to be impressed by the technical expertise together with the editing, sound, cinematography, production design and special effects. Lancaster's concept of an exciting action film has been fully realised here and he himself is excellent as Labiche. He looks every inch a railwayman and is once again able to show his athletic prowess. Paul Scofield as the obsessed Colonel Waldheim is simply superlative and Jeanne Moreau's Christine is wonderfully drawn.
The authenticity is marred somewhat by the voices of Suzanne Flon, Albert Remy and most notably the great Michel Simon being dubbed by Americans.
The amazing courage of French railwaymen during the Occupation had already been captured brilliantly in René Clément's 'Battle of the Rails'. Here we have a new dimension as the value of Art is juxtaposed with the value of human life.
The final shot of crates of paintings alongside the bodies of dead hostages says it all.
'Ars Longa. Vita Brevis'.
Logistically this must have been a difficult film to make and one cannot fail to be impressed by the technical expertise together with the editing, sound, cinematography, production design and special effects. Lancaster's concept of an exciting action film has been fully realised here and he himself is excellent as Labiche. He looks every inch a railwayman and is once again able to show his athletic prowess. Paul Scofield as the obsessed Colonel Waldheim is simply superlative and Jeanne Moreau's Christine is wonderfully drawn.
The authenticity is marred somewhat by the voices of Suzanne Flon, Albert Remy and most notably the great Michel Simon being dubbed by Americans.
The amazing courage of French railwaymen during the Occupation had already been captured brilliantly in René Clément's 'Battle of the Rails'. Here we have a new dimension as the value of Art is juxtaposed with the value of human life.
The final shot of crates of paintings alongside the bodies of dead hostages says it all.
'Ars Longa. Vita Brevis'.
The Train (1965)
fntstcplnt7 August 2019
Directed by John Frankenheimer. Starring Burt Lancaster, Paul Scofield, Wolfgang Preiss, Albert Rémy, Jeanne Moreau, Michel Simon, Jean Bouchard, Suzanne Flon, Charles Millot, Arthur Brass.
With the Allies closing in near the end of the second world war, German colonel Scofield works to ship stolen artwork from Paris to Germany by train; Lancaster is the railway inspector working with the French Resistance who sets out to intercept. Inspired by real events, though dramatized with significant license for a large-scale, pulse-pounding production; Frankenheimer eschews models for the real deal (actual trains crashing into each other, real trainyard getting dynamited to mimic a saturation bombing, etc.), and the weight and physicality of it is always felt. Tense, high-powered action throughout, photographed in deep-focus black & white (suitably inky and grimy considering the setting/mood), with Scofield making for a memorably determined antagonist, though it fails to give its hero an especially convincing rationale for risking his life repeatedly for this particular cause (he's no art lover, and those supporting the mission expound almost entirely in symbolic terms), rendering all the masterful artwork as little more than a MacGuffin. Presented as escapist melodrama without the cultural/philosophical gravitas, though such burdens may have been an albatross for this kind of streamlined, visceral presentation.
81/100
With the Allies closing in near the end of the second world war, German colonel Scofield works to ship stolen artwork from Paris to Germany by train; Lancaster is the railway inspector working with the French Resistance who sets out to intercept. Inspired by real events, though dramatized with significant license for a large-scale, pulse-pounding production; Frankenheimer eschews models for the real deal (actual trains crashing into each other, real trainyard getting dynamited to mimic a saturation bombing, etc.), and the weight and physicality of it is always felt. Tense, high-powered action throughout, photographed in deep-focus black & white (suitably inky and grimy considering the setting/mood), with Scofield making for a memorably determined antagonist, though it fails to give its hero an especially convincing rationale for risking his life repeatedly for this particular cause (he's no art lover, and those supporting the mission expound almost entirely in symbolic terms), rendering all the masterful artwork as little more than a MacGuffin. Presented as escapist melodrama without the cultural/philosophical gravitas, though such burdens may have been an albatross for this kind of streamlined, visceral presentation.
81/100
Interesting WW2 movie
grantss27 September 2020
Interesting WW2 movie. Very original, though improbable, plot. Good action and suspense, which is maintained well throughout.
Good performances from Burt Lancaster in the lead role and Paul Scofield as the German Colonel.
Good performances from Burt Lancaster in the lead role and Paul Scofield as the German Colonel.
The BEST Train Film!
gmzewski4 September 2005
I enjoy train films as a whole, my film collection is categorized into themes, such as trains, etc., and this is, by far, the best train film I've ever seen. The wreck scene, as well as the moving train(s) were very real, in fact, as story has it, the equipment used was WW1 vintage locomotives rescued from the scrap heap, and renovated to allow them at least to move, if not under their own power, then off-camera, pushed or pulled by more modern equipment. The elaborate wreck scene was incredibly beautiful in execution. By far the best train wreck scene I've ever seen in any film! Kudos to Frankenheimer for his expertise, as well as the technical special-effects people for their diligent, hard work in bringing this story to life on the screen! Although I cringe at seeing ANY type of machinery destroyed, this was really beautiful! A Real Masterpiece!
Burt Lancaster as a French Resistance fighter trying to stop a German train with stolen art
Wuchakk8 August 2020
Paris is on the verge of liberation from Nazi occupation in 1944, so a German colonel (Paul Scofield) loads a train with a priceless cargo of French paintings to take to Germany, which Resistance fighters led by engineer Labiche (Burt Lancaster) are intent on stopping. Jeanne Moreau is on hand as a hotel owner.
"The Train" (1964) is a B&W war picture with the unconventional tone of contemporaneous WW2 films "The Young Lions" (1958), "36 Hours" (1964) and "Morituri" (1965). The story starts slow, but becomes increasingly compelling with lots of non-CGI carnage involving tracks and trains. The last act is creative and leaves you with the question: How many lives is art worth? Lovers of steam locomotives should eat this up.
The film runs 2 hours, 12 minutes and was shot in France.
GRADE: B
"The Train" (1964) is a B&W war picture with the unconventional tone of contemporaneous WW2 films "The Young Lions" (1958), "36 Hours" (1964) and "Morituri" (1965). The story starts slow, but becomes increasingly compelling with lots of non-CGI carnage involving tracks and trains. The last act is creative and leaves you with the question: How many lives is art worth? Lovers of steam locomotives should eat this up.
The film runs 2 hours, 12 minutes and was shot in France.
GRADE: B
Gripping wartime thriller
Tweekums13 July 2009
Warning: Spoilers
Set in 1944 during the final days of the German occupation of France this film is gripping from start to finish. It was made at what was perhaps the idea time; there were still plenty of railway vehicles from the war time period in use but as they were coming to the end of their useful life they could be destroyed in the film. It also meant they wouldn't be unrealistically clean as they probably would have been if preserves engines were used.
Paul Scofield plays a German colonel with a fondness for fine art, since the artists he favours are considered degenerate by the Nazi regime he argues that they are worth saving for Germany if only for their monetary value. To do this he requisitions a train that is he determined to get out of France whatever the cost. While he is determined that his train will get though Labiche, a French railway worker played by Burt Lancaster, is equally determined that it will not leave France. Labiche has another problem, not only must he stop the train he must also protect its cargo for France. To do this he uses deception, sabotage and even risks the life of himself and fellow resistance fighters to mark the train so it isn't attacked my Allied aircraft.
The two leading actors gave great performances and the supporting cast were good too. The black and white photography really captures the dirty feel of steam railway. This might not be as famous as other war films but it is definitely worth seeing.
Paul Scofield plays a German colonel with a fondness for fine art, since the artists he favours are considered degenerate by the Nazi regime he argues that they are worth saving for Germany if only for their monetary value. To do this he requisitions a train that is he determined to get out of France whatever the cost. While he is determined that his train will get though Labiche, a French railway worker played by Burt Lancaster, is equally determined that it will not leave France. Labiche has another problem, not only must he stop the train he must also protect its cargo for France. To do this he uses deception, sabotage and even risks the life of himself and fellow resistance fighters to mark the train so it isn't attacked my Allied aircraft.
The two leading actors gave great performances and the supporting cast were good too. The black and white photography really captures the dirty feel of steam railway. This might not be as famous as other war films but it is definitely worth seeing.
Which Is Of More Value? Art or Human Life?
strong-122-47888522 April 2018
And, the question is this - (In the time of cold-blooded war) - Would you be willing to actually give up your life in order to stop valuable paintings (by Van Gogh, Picasso, and Gaugin) from getting into the hands of your enemies with the possibility that these irreplaceable works could be destroyed? Would you?
Skillfully directed by John Frankenheimer (of the "Manchurian Candidate" fame) - 1964's "The Train" (filmed in b&w) is a gritty, quasi-violent WW2 drama whose story proudly boasts of being based on actual events.
IMO - The one really damaging point that threatened to mar the realism of "The Train" was that even though American actor, Burt Lancaster was playing a Frenchman, he didn't have the professionalism to even try to muster up a convincing sounding French accent (unlike the rest of the cast who were all believable as Frenchmen and Germans).
Skillfully directed by John Frankenheimer (of the "Manchurian Candidate" fame) - 1964's "The Train" (filmed in b&w) is a gritty, quasi-violent WW2 drama whose story proudly boasts of being based on actual events.
IMO - The one really damaging point that threatened to mar the realism of "The Train" was that even though American actor, Burt Lancaster was playing a Frenchman, he didn't have the professionalism to even try to muster up a convincing sounding French accent (unlike the rest of the cast who were all believable as Frenchmen and Germans).
Way way way too long but good for other reasons
QueenoftheGoons16 March 2022
Warning: Spoilers
A goof 90 minutes could have been cut out of this. Gotta feel bad for Scar Chin Scofield. He never does get his stolen art to Germany. Watched it for Wolfgang Preiss who i have loved since 3/13/13 when i fell over him in sharks and little fish. Arthur Brauss is in it memorably from taking some stink from Scar Chin. Its a good movie but way too long. Glad Preiss and the other Germans get away, wish Scar Chin did too.
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