I was thrilled when the movie began. I had no idea it was made by Ealing Studios, but I always felt impressed by their every film. They just seemed to make the most out of even the simplest stories.

This film is about a group of British soldiers spending the war in a prisoner of war camp. "The Captive Heart" stretches from 1940 through the war to the return of the prisoners to their homes.Often, the story is punctuated with flashback scenes--showing the soldiers in mostly happier days with loved ones. In addition to the many little vignettes is an odd (and rather difficult to believe) story involving Michael Redgrave. It seems he's a Czech who's escaped from a concentration camp and is re-captured by the Germans. However, not wanting to be returned to a hellish place like Dachau, he assumes the identity of a dead British soldier--and is sent to the camp along with the real British prisoners. This story and how it all plays out is very interesting. I don't want to say more, as it would spoil the story.

The film has very nice acting and a reasonably engaging story. My only major complaint is that because the film takes place over such a long time period, the film is a bit episodic and shallow at times. But it's still a well made and engaging film from start to finish.

THE CAPTIVE HEART is one of the earlier movies from Ealing Studios, made before they were known for their genteel, witty comedies. It's a standard WW2 prisoner of war flick, with a greater depth of characterisation than most. At times it gets into romantic and tragic territory, recalling the likes of BRIEF ENCOUNTER, but it also includes some genre tropes and ideas which add excitement. As with many British war films of this era, most of the fun comes from seeing an ensemble cast doing their bit, from the big names like Michael Redgrave and Mervyn Johns right through to the smaller parts from the youthful Gordon Jackson and Sam Kydd.

This is an immensely sensitive and very moving film about British POWs rounded up by the Germans at Dunkerque (Dunkirk) in 1940 and marched 220 miles to be interned for the rest of the War in a German POW camp. The film is half about them and half about their lives and loves back home, utilising flashbacks as well as real time events intercut with the men in the camp. The technique is carried out so well that it is highly effective and never seems forced. Much of the film was made in Germany, including the reconstruction of the POW camp. The film aimed for absolute authenticity, and was made with the passion and intensity which was perhaps only possible in the year immediately following the War, when all the issues raised were at their peak of relevance, both to the people making the film and the viewing public. The film is full of wonderful, sensitive and deeply-felt performances. They all really put their hearts into it, and it shows. For instance, rarely can the character actor Mervyn John have embodied such pathos. And the intensity of emotion conveyed by both Rachel Kempson and Jane Barrett is remarkable. Barrett died tragically young at the age of only 46, in 1969, having worked a great deal in television but never obtained the quality roles worthy of her in feature films. Thus she is little known today, but this film shows her qualities admirably. This was one of director Basil Dearden's finest films. He made it immediately after his two episodes of DEAD OF NIGHT (1946),and three years later he directed two episodes of the wonderful classic, TRAIN OF EVENTS (1949, see my review),one of which also dealt with prisoners of war. (The ironical thing is that Dearden made films all through the War and was not in the services, so had no military experience.) It is apparently in this film that Dearden's long professional association with Michael Relph commenced. Relph was both Associate Producer and Art Director on this film. Later he would produce most of Dearden's films. The lead role in this film is played by Michael Redgrave. He had already been married to Rachel Kempson for eleven years when they played in this film together. Redgrave plays a Czech soldier who has escaped from Dachau and is being hunted by the Germans. He speaks perfect English and indeed has been Professor of English at Prague University. He comes across the dead body of Captain Geoffrey Mitchell, a British officer, and takes his identity and uniform, is captured by the Germans and sent to the POW camp as an Englishman. The real Mitchell had been estranged from his wife (played by Rachel Kempson). Redgrave is forced to engage in correspondence with his 'wife' in order to convince the Germans that he is not an impostor. He smashes his right hand so that he is forced to write with his left, as a way of excusing the change of hand-writing to his 'wife'. They then exchange increasingly passionate letters to one another over the years, leading to an awkward situation when the War finally nears its end and Redgrave is 'repatriated' to England as Captain Mitchell. There are wonderful character parts for Gordon Jackson, Jack Warner, Gladys Henson, and others. Derek Bond is excellent as a sensitive concert pianist, Lieutenant Harley. The following year he was to make a big hit as Nicholas Nickleby in the film of that (1947). He never achieved lasting star status, and died as recently as 2006 after appearing in 67 titles. This film, done with such passion and integrity, is a classic of the time, and makes compulsive viewing today considering what it conveys of historical importance, of the manners, situations, and modes of feeling of that period.