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William Holden sees the light in Billy Wilder's "Stalag 17" from 1953. |
I avoided Stalag
17, despite my admiration for Billy Wilder and William Holden, because I
grew up subjected to Hogan’s Heroes
reruns, and thought they were basically the same story. I’m amazed that sitcom
still has admirers, because even as a little kid, I realized that the show was
incredibly sanitized, silly, and worst of all, unfunny. The creator of Hogan’s Heroes claimed there was no deliberate
imitation of Stalag 17 from the show.
Despite the fact both stories featured a smart aleck American soldier, a dopey
German sergeant, and a preening German colonel, with the wiley American POWs always
outwitting the inept Nazi captors. Yet, they are different—in terms of quality and depth.
I added Stalag
17 to my list of 2025 classic films to watch that I had never previously seen.
And unlike Hogan’s Heroes, I was
wowed by these POWs!
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"Stalag 17" came out a dozen years before "Hogan's Heroes" aired, but was still more gritty and satiric, thanks to Billy Wilder. |
Since Billy Wilder directed Stalag 17, it’s no surprise that the
story is not watered down. The POW camp comedy-drama is still gritty. Billy
Wilder's take on war and its spoils may seem cynical to some, I find Wilder’s
outlook realistic. He covered similar themes in 1948’s A Foreign Affair, with John Lund as the soldier/black market
profiteer. Stalag 17 is a microcosm
of life during wartime.
Considering Stalag 17 is mostly stage bound in a prison barracks, the film is stylishly told.
In a nutshell, there’s a rat in the ranks of Stalag 17. Most of his fellow
prisoners think it is William Holden’s opportunist. While that plot expertly
unfolds, this stage play is perfect for the intimacy of film to focus on the
characters, as this is truly a character piece. The way of photographing them
interacting or having a solo moment is done imaginatively, so it’s not stagey.
The guys get outside enough in the drab prison yard, which it breaks the
monotony and brings some drab atmosphere.
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Amidst the satire & antics, scenes like this show the grim reality of "Stalag 17." |
Stalag 17 boasts a large and
diverse ensemble cast. There’s hardly a dud in the bunch. They look realistically
lean, scruffy, and dirty. They are quite a mix of personalities and they play
their archetypes admirably and entertainingly. Holden’s the star, but Wilder
doesn’t make it a star vehicle, he’s part of an ensemble, and Bill leads
admirably.
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William Holden's willing to barter as the barracks profiteer, in 1953's "Stalag 17." |
Wilder's subversive subtext is there in Stalag 17, with the men’s interaction
with the Germans and each other. The two groups are always trying to outfox
each other. Of course, the Germans are the captors so they have the ball. But
the POWs got game.
Did William Holden rightly win the Best Actor
Oscar that year? Cast as the lead in an ensemble piece is tricky. Pundits will
question whether a star won on their own steam or were they bolstered by the
great cast. Bill was on a roll after Sunset
Blvd., so it was a popular win and a career Oscar, as well.
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William Holden is suspected of being the barracks rat in 1953's "Stalag 17." |
William Holden as J.J. Sefton is cynical,
Wilder-style. Bill’s Sefton makes the most of his enforced stay at Stalag 17. He’s
genial when mixing it up and doing business with the guys, but tough and
cynical when it comes to realities of camp life. Holden probably brought some
of his ambivalent feelings about studio era stardom to his character’s using
his charm to succeed in a corrupt environment.
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William Holden won an Oscar as prisoner/profiteer J.J. Sefton in 1953's "Stalag 17." |
Even William Holden felt the lead character as
the cynical barracks profiteer was a bit too unlikable—and Bill had fought to
get away from a decade’s worth of “Smiling Jim” roles in the ‘40s. Wilder got
his way, though there is a nudge at the end, when the nice Bill Holden comes
out—as he's escaping the barracks!
Otto Preminger’s cool charm is extra sinister
for Colonel von Scherbach. Sig Ruman is the clownish Sgt. Schulz, which Hogan’s Heroes later borrowed. Both characters
are comic villains, which allow Wilder to satirize them even more.
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Otto Preminger, as the charming/creepy Colonel in 1953's "Stalag 17." |
Robert Strauss is comic relief, “The Animal,” somewhat
like John Belushi in Animal House.
And Strauss also seems to have been an inspiration to Brad Garrett’s persona,
who came to fame as Robert on Everyone
Loves Raymond. Strauss’ “Animal” and partner in crime, Shapiro, are a bit
much at times, but Wilder knew the grim premise needed some broad comic relief.
Harvey Lembeck, an expert comic actor, is Harry Shapiro, the wise guy/straight
guy for “The Animal.”
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Robert Strauss goes big as "The Animal" in 1953's "Stalag 17." After one scene with Strauss, I realized where Brad "Everyone Loves Raymond" Garrett got his shtick! |
Neville Brand is baby-faced here as sullen
Duke, the barracks bellyacher. He’s too good, I wanted Holden’s Sefton to belt
him one! Jay Lawrence as Bagradian, one of the new prisoners, was a captivating
personality, full of imitations. And why not, he was the brother of F Troop’s live-wire, Larry Storch. Gil
Stratton is “Cookie” Cook, who narrates and is Sefton’s wingman. He offers
everyman likeability and insight to J.J. Sefton’s personality. Robinson Stone is
silently awesome as Joey, the traumatized soldier.
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Jay Lawrence (center) is a live wire as the new POW in "Stalag 17." |
Robert Shawley is adorable as “Blondie” Peterson
and William Pierson very amusing as Marko the Mailman—my gaydar went off for
both! Shawley has hardly has any lines, but is right in the mix, and is quite
natural. Oddly, his subsequent career went nowhere. And Pierson, with his nasal
rat a tat delivery of the barrack’s announcements is quite hilarious.
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Robert Shawley as "Blondie" Peterson, "Stalag 17's" platinum twink! |
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Remember David Bowie as a WWII POW in "Merry Christmas, Mr. Lawrence?" |
On the downside, there’s two rather dud
performances, but they’re not bad enough to hurt Stalag 17. Peter Graves is Frank Price, who’s in charge of barracks
security. Graves is decent but not especially dynamic, which is why he never
became a top star in movies or television. He was one of those actors, like
Robert Stack, who acted with his voice, like a radio announcer. Don Taylor,
dull as always, is Dunbar, one of the latest captives. You may remember him as
the groom in the original Father of the
Bride.
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Peter Graves as barracks security, barely gets by in 1953's "Stalag 17." |
Stalag 17 is a solid two hours,
but moves at a good pace, especially impressive since it’s a filmed play, with
most of the action taking place inside the barracks. Billy Wilder’s way with
actors, expert storytelling, and willingness to push the envelope, all play to Stalag 17’s advantage.
I don’t like the war movie genre and yet I was
mesmerized the entire time by Stalag 17.
And I’m pleased to add this film classic to my classic film blog. And if you
like my blog, click Follow for free! https://ricksrealreel.blogspot.com/
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See the link below for an excellent copy of 1953's "Stalag 17." |
Here is an excellent, free copy of Stalag 17 to watch on YouTube:
https://www.youtube.com/watch?v=njcqwleu9kc
My look at William Holden’s breakout year as
an actor here: https://ricksrealreel.blogspot.com/2022/04/william-holdens-golden-year-1950.html
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Look who came to visit "Stalag 17," all the way from "Sunset Blvd.!" Norma Desmond herself, i.e. Miss Gloria Swanson. Maybe she wanted to see if Otto Preminger was interested in being her new butler! |