William Holden & Stellar Cast in Billy Wilder’s ‘Stalag 17’

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!

"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.

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.

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.

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.

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.

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.”

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.

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.

Robert Shawley as "Blondie" Peterson, "Stalag 17's" platinum twink!

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.

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/

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

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!

Clifton Webb’s Mr. Belvedere Still ‘Sitting Pretty’ 1948

 

Clifton Webb as Mr. Belvedere teaches his new employers' child an important lesson
 on table manners in 1948's comedy "Sitting Pretty."

Sitting Pretty was the type of good-hearted comedy that 20th Century Fox did so well in the 1940s and '50s. Sitting Pretty was a satire of post-war American suburbia, with the acidic genius Mr. Belvedere providing the comic sting. 

Hummingbird Hill is the suburban setting of Sitting Pretty, which looks innocuous on the outside. A young couple can’t keep a housekeeper to cope with their hectic offspring, much less get a babysitter for date nights. Exasperated, the wife takes out an ad, and gets a response from a Lynn Belvedere. She seems to have all of the qualifications, but the couple is surprised when she turns out to be Mr. Belvedere, and a self-proclaimed genius at that! What follows is a still-funny spoof of post-WW II social mores, all of which is duly noted by the mysterious Belvedere. The prickly “manny”/housekeeper marches to his own drummer, but whips the frazzled family into shape, while working his own mystery project.

Mr. Belvedere is not intimidated in the least by the busybodies of Hummingbird Hill,
 in 1948's suburbia satire, "Sitting Pretty."

Mr. Belvedere is played by Clifton Webb, at his most acerbic. The young couple, Harry and Tacey King, is played by Robert Young and Maureen O’Hara. Though Young seems a bit mature as the junior lawyer, Father Knows Best was just around the corner, and his wry humor works well here as the film’s straight man. O'Hara is lovely and spirited as the young homemaker, who could use a hand on the home front. Their young boys are basically adorable, but rascals.

Maureen O'Hara & Robert Young are the happy but harried couple of 1948's comedy,
 "Sitting Pretty."

The nosy neighbors are an old biddy and her sissy son, a movie and TV staple. The latter is Clarence Appleton, played by Richard Haydn, who made a career of such fusspots, with his clothes pin on the nose voice. Haydn appeared in everything from Ball of Fire to The Sound of Music to Young Frankenstein, an expert comedy actor. Ed Begley, Sr. is the alpha male boss of Young’s lawyer, complete with cigars and barked orders. The bobbysoxer babysitter, Ginger, who reminded me of an amped up Shirley Temple, is played by Betty Lynn. She later found TV fame as Barney Fife’s girlfriend Thelma Lou, on The Andy Griffith Show. John Russell and Louise Allbritton are pleasant as the King’s best friends, Bill and Edna Philby. Russell, who looked like a caricature of Clark Gable, later became a western star.

Clifton Webb as Mr. Belvedere, with John Russell & Robert Young as young lawyers,
in 1948's social satire, "Sitting Pretty."

I was pleasantly surprised to see that Clifton Webb got an Oscar nomination for his performance as Mr. Belvedere. Comedy performances aren't always recognized by the Academy, but Webb’s razor sharp performance is the core of this film. Webb lobs zingers at the reactionary husband and nosy neighbors with comedic precision, but also rations out the right amount of warmth as he grows closer to the family. Webb’s Belvedere is gleeful to watch because he says and does exactly what he thinks. And the last act, when Mr. Belvedere’s project is revealed, wraps everything up in a neat comedic package.

What's fascinating about Clifton Webb is that he became a film star straight away with Laura in 1944. There was great concern at Fox that Webb's flamboyant personality would not go over with mainstream movie audiences. Well, Laura was an instant classic and Webb should have won his first Oscar as Waldo Lydecker. But sentimental fave Barry Fitzgerald won Best Supporting Oscar for Going My Way for that year. Webb scored another nod for The Razor's Edge as socialite Elliot Templeton, another great performance. And his third and final nom was for Sitting Pretty. He scored a huge hit in 1950 as the patriarch in Cheaper by the Dozen and might have scored another nom if the Best Actor category didn’t already have classic comedy performances by James Stewart for Harvey and Spencer Tracy as Father of the Bride. The star character actor also appeared in some big hits through most of the '50s, like Three Coins in a Fountain and Titanic. Like the later Paul Lynde, Webb was hiding in plain sight as a gay performer, but he was so funny and likable, audiences didn't either catch on or seem to mind. And especially rare for the homophobic era, Webb's characters were smart and had the upper hand, and not the butt of jokes. 

Clifton Webb, as Mr. Belvedere, who adds author to his laurels at the finale of 1948's
 "Sitting Pretty." Note the statue on the right, courtesy of O'Hara's character.

Sitting Pretty is still pretty darn funny, with the stars at their most charming. The story is so clever that I'm surprised that nobody's done a remake. I could see Jim Parsons, who played Sheldon on the beloved sitcom The Big Bang Theory, as Mr. Belevedere, but I think the original is just fine.

See below for a link to "Sitting Pretty."

Here’s an excellent, free copy of Sitting Pretty on YouTube:

https://www.youtube.com/watch?v=kgcNdOHZW6I

A link to my review of "Laura" below,
which made Clifton Webb a film star.

Here’s my look at the timeless classic film noir, Laura, with Clifton Webb as venomous columnist Waldo Lydecker:

https://ricksrealreel.blogspot.com/2018/04/laura-1944.html

 

‘The More the Merrier’ is Mostly Marvelous 1943

 

Joel McCrea & Jean Arthur play wartime lovebirds, with matchmaker
Charles Coburn in the middle, in 1943's "The More the Merrier."

A terrific trio of actors—Jean Arthur, Joel McCrea, and Charles Coburn—play wonderfully with one another in The More the Merrier, a 1943 wartime comedy capitalizing on the Washington DC housing shortage.

George Stevens was a director of diverse genres before he went off to war: dramas, comedies, action, even an Astaire-Rogers musical. Stevens was a changed man after WWII, directing several documentaries regarding the war’s atrocities. Post-war, Stevens’ film output became sporadic, with subject matter that was always serious. Pre-war, Stevens directed several comedy-dramas, including the previous year's The Talk of the Town, with Arthur, Ronald Colman, and Cary Grant. Stevens' humanistic touch fully blossomed later in I Remember Mama and Shane, was evident even in his comedies, making their romantic aspects especially engaging.

Charles Coburn's Mr. Dingle cuts to the head of the line in Washington DC's
wartime housing shortage, in 1943's "The More the Merrier."

The tale of The More the Merrier is when Connie Milligan (Jean Arthur) feels it’s her patriotic duty to rent out half of her apartment. What she doesn't count on is aging alpha male Benjamin Dingle (Charles Coburn) charging his way in to her home and telling her that he's the new renter. Not even a day in, he then sublets his room to soldier Joe Carter (Joel McCrea), without consulting Connie. Mr. Dingle naturally plays matchmaker to these two young folk, so comedy and romance ensue. As written, I didn’t care for these introductory scenes with the pushy retiree, who wouldn’t have gotten past my front door.

I love old movies when the leading lady is putting on cold cream, all around her fully
 made-up face! Jean Arthur as Connie Milligan, in 1943's "The More the Merrier."

Let me say that I'm not a fan of slapstick, so the first half hour of The More the Merrier was excruciating for me. While it is expertly plotted and performed, the introduction of the three strong-willed characters clashing, complete with door slamming and misunderstandings, is hard to take if you're not fond of such antics.

Jean Arthur's Connie reacts to the sounds of her male roomies "bonding!"
From 1943's "The More the Merrier."

Let me also confess that I'm a bit allergic to the charms of Jean Arthur. Yes, I respect her as a talent, both adept in comedy and drama. Arthur's right up there with Carole Lombard as a supreme practitioner of screwball comedy. Her choice in films was superb and she aged beautifully onscreen. Born in 1900, she was at least a half a dozen years older than most of her contemporaries of the '30s and her career sailed along through the half of the '40s, and only ended by her choice. Given Jean Arthur's popularity and quality films, I was surprised that The More the Merrier was Arthur's only Oscar-nominated performance!

Jean Arthur's Connie unwinds by practicing her dance moves to some Latin music.
 From 1943's "The More the Merrier."

That said, I find Jean Arthur hard to take for the reason most people love her, that cartoon voice that goes right through my head. It’s the same reason I can't abide June Allyson, Judy Holliday, and Melanie Griffith. Their voices may be unique, but I find them irritating, especially with their matching personas. When Arthur plays officious types, like here and the post-war A Foreign Affair, she's too good at it, to the point of obnoxiousness. Luckily, the scripts of The More the Merrier and Billy Wilder's A Foreign Affair are three-dimensional enough to give her redeeming qualities. My aversion to Jean Arthur was the main reason that I’ve never watched The More the Merrier until this year. And I can now say that I’m glad I did!

Little does Jean Arthur's Connie know that new tenant Joel McCrea is got the
Latin groove, too! From George Stevens' "The More the Merrier."

I've had the impression that Joel McCrea, while very popular in his time, was considered a poor man's Gary Cooper in the film industry. While I have a soft spot for Coop, I find Joel McCrea's naturalistic, no-nonsense manner very appealing and modern. And he doesn't have that halting way of speaking like Cooper, who sometimes sounded like English wasn't his first language!

Here, Joel's soldier, who's only in DC for a week before being shipped out, is comically deadpan at first, but is soon affable toward Coburn's Mr. Dingle. And natch, it's love at first sight for practical soldier Joe and even more practical Connie, who has her whole life mapped out. 

Joel McCrea is in his prime here and there are several scenes of his showing off his fine tan form, which he wasn’t shy about in his heyday. Arthur is lovingly photographed, stylishly dressed, and looks most appealing. As Connie and Joe let down their mutual guard and fall in love, the movie really comes alive for me. 

Joel McCrea, tan and trim, as soldier Joe Carter, in 1943's "The More the Merrier."

Charles Coburn is at his most irascible as Mr. Dingle and he's wonderful. A top character actor of the era, Coburn could be just as great as a villain, like the incestuous uncle to Bette Davis’ vixen from In This Our Life or the cold doctor who needlessly amputates Ronald Reagan's legs in Kings Row. Or he could be highly amusing, such as the blustering Binky in Gentleman Prefer Blondes or here, as the meddling retiree in The More the Merrier. Coburn won a Best Supporting Actor Oscar as Mr. Dingle. 

Even Charles Coburn's Mr. Dingle gets in the dance spirit, in 1943's
"The More the Merrier."

After a first half hour of slapstick, it’s the Washington DC atmosphere, the stars’ tender romance, and funny supporting cast that make The More the Merrier truly enjoyable. The breakfast scene, where Connie and Joe not so subtly question each other, with unwanted interjections from Mr. Dingle, is sharply funny. The rooftop scene is my favorite, offering a charming war-time scene of various tenants relaxing and socializing. Connie knits and has her diary with her, while the two guys read a Dick Tracy cartoon strip to each other. Since Connie has a safe fiancee, she and Joe’s romancing is furtive. First, with the scene where they try to go on a non-date date, then their apartment stoop wooing, and ending with pillow talk through a bedroom wall—sweetly funny and genuinely romantic. The climatic cab scene, with all the characters concerned hashing things out is great fun. The only thing that mars the ending is Arthur's comically fake crying that is grating, only topped decades later by Diane Keaton breakup bawling in Something's Gotta Give.

I love this rooftop scene, with Connie, Mr. Dingle, and Joe hanging out with the
other tenants, in 1943's "The More the Merrier."

Yes, Connie has a dork boyfriend. And yes, Joe has to go on military assignment in Africa. By the finale, they marry and will wait for one another. The More the Merrier is a wartime fairytale, with everyone rubbing elbows and more, is great fun and depicted with genuine feeling, thanks to its great stars and director.

Jean Arthur's Connie & Joel McCrea's Joe, married at last, but not without a few
 minor hitches, in 1943's "The More the Merrier."

My look at Jean Arthur in a very similar role, in Billy Wilder’s post-war comedy/drama, A Foreign Affair: https://ricksrealreel.blogspot.com/2023/05/billy-wilders-adult-foreign-affair-1948.html

And here’s my take on Joel McCrea, just fine as Alfred Hitchcock’s Foreign Correspondent: https://ricksrealreel.blogspot.com/2025/01/hitchcocks-fine-foreign-correspondent.html

Another lovely scene from 1943's "The More the Merrier." Joe & Connie pour
their hearts out while in single beds, through a bedroom wall.
Joel McCrea & Jean Arthur make a fine romantic team here.