Northern Pursuit (1943)
A solid, serious film that shouts its political message too loudly, but is so unusual, and potentially scary it remains interesting for anyone into WWII films. Truly fascinating is the setting—the north woods of Canada in winter—and the involvement of Native Americans, who side with the Nazis for the simple reason that that means siding against Canada. (This is addressed in some brutal killings partway through.) The key plot idea is that a group of expert Nazis might actually sneak into remote areas of the country to perform acts of sabotage.
The movie audience here is mostly in the United States, to be sure (Canada's population is so small it is always a secondary concern from the studio's point of view). And the leading actor, Errol Flynn, takes on the larger issues well. That is: devotion to good, personal sacrifice to defeat the enemy, and providing an example of moral uncertainty resolving itself as the circumstances become clear. The issues he faces (in Canada) applied to the U.S. equally.
Canada, to be sure, entered the war officially with Great Britain in 1939. But by 1943 the U.S. was also officially fighting. Cooperation between the two neighbors was a given, overall, but they had different national priorities to smooth out. Flynn was so famous at the time, despite (or because of) some personal scandal, he carried the movie.
But it's cobbled together stuff, quasi-propaganda. None of it was shot in Canada, though it's convincing enough. The romance is really almost superfluous, but it gives of course the audience that extra layer to swoon about, briefly. Most viewers will find a lot of this formulaic and rough sledding, but it isn't terrible, and the themes have lasting power.
A solid, serious film that shouts its political message too loudly, but is so unusual, and potentially scary it remains interesting for anyone into WWII films. Truly fascinating is the setting—the north woods of Canada in winter—and the involvement of Native Americans, who side with the Nazis for the simple reason that that means siding against Canada. (This is addressed in some brutal killings partway through.) The key plot idea is that a group of expert Nazis might actually sneak into remote areas of the country to perform acts of sabotage.
The movie audience here is mostly in the United States, to be sure (Canada's population is so small it is always a secondary concern from the studio's point of view). And the leading actor, Errol Flynn, takes on the larger issues well. That is: devotion to good, personal sacrifice to defeat the enemy, and providing an example of moral uncertainty resolving itself as the circumstances become clear. The issues he faces (in Canada) applied to the U.S. equally.
Canada, to be sure, entered the war officially with Great Britain in 1939. But by 1943 the U.S. was also officially fighting. Cooperation between the two neighbors was a given, overall, but they had different national priorities to smooth out. Flynn was so famous at the time, despite (or because of) some personal scandal, he carried the movie.
But it's cobbled together stuff, quasi-propaganda. None of it was shot in Canada, though it's convincing enough. The romance is really almost superfluous, but it gives of course the audience that extra layer to swoon about, briefly. Most viewers will find a lot of this formulaic and rough sledding, but it isn't terrible, and the themes have lasting power.