ODETTE

UK, 1950, 124 minutes, Black and white.
Anna Neagle, Trevor Howard, Marius Goring, Bernard Lee, Peter Ustinov.
Directed by Herbert Wilcox.

Odette made a great impact in 1950. It was a period when British films were making memoirs of the experiences of World War Two, especially the concentration camps in films like The Wooden Horse. Following Odette there were a number of tributes to particular individuals, the most significant being Carve Her Name With Pride with Virginia Mc Kenna as Violette Szabo (1957).

Odette Sanson collaborated with Anna Neagle for the making of the film, accompanying the actress to the various sites and prisons where the action took place. Odette herself is quoted as saying that working with Anna Neagle for such time and such energy was harder than the actual experiences.

Odette is presented as an ordinary citizen, volunteering for undercover work and collaboration with the Resistance in France. She is captured and tortured but does not give any information to the Nazis.

Anna Neagle was a musical actress, best known for a range of films with her husband (as here), director Herbert Wilcox. During the 1930s she had portrayed all kinds of characters from Nell Gwyn to Queen Victoria (Victoria the Great, 1937, Sixty Glorious Years, 1938) and Nurse Edith Cavell. She also appeared in the musicals Irene and No No Nanette. In 1946, she appeared in a number of films which broke all box office records in the United Kingdom, starring with Michael Wilding: Piccadilly Incident, The Courtneys of Curzon Street, Spring in Park Lane, Maytime in Mayfair. Odette came immediately after Maytime in Mayfair and before her enacting Florence Nightingale in The Lady With The Lamp.

The film has a strong supporting cast led by Trevor Howard with Peter Ustinov in an early role.

Odette was one of the most significant films in British cinema in 1950 – although, in retrospect, there is criticism that Anna Neagle was not strong enough in the central role. However, audiences disagreed.

1. How moving and interesting was this film? As a war film? as a document on human nature?

2. The 1950s atmosphere o£ the film? In style, in relationship to World War II and memories? The patriotism and tribute of the time? The impact of the film decades later?

3. Comment on the particularly British atmosphere of the film, the portrayal of heroism, the nature of patriotism, the presentation of courage.

4. The atmosphere of real life at the beginning and end of the film? The intrusion of war into ordinary life? The film as a tribute?

5. The presentation of the war setting, the building up of the war atmosphere and feeling, the need for patriotism? The explanations of people in war, emotional response, realities of death?

6. Odette as a person? The presentation of her role in ordinary life, the widow. the children, sending in the photos?

7. How credible was her volunteering, the nature of her training? the importance of the Scotland story for the children, the sadness of the farewells?

8. How interesting was the picture of the network in France, the nature of communications, the way of life of the spies, the importance of loyalty and trust?

9. Raoul: as a person, as a Churchill, his skills, trust, detailed knowledge of the network, the spirit of the agents in France, his relationship to Odette, trusting her? The capture. the torture and its effect?

10. Odette’s role in France: settling in to the work, her work? in Marseilles as a test, her skill, relationship with Raoul? her capture and her showing of courage? The torture. fidelity, the final starvation? The impact of freedom? her rehabilitation?

11. The other spies, their work as agents, their success, the risk of death, their capture?

12. The picture of the Gestapo and its ugliness? Torture?

13. The civilised German officer and his kindness towards Odette? his doing of his work and following orders? His responsibility for the kind of torture that went on?

14. The picture of the British during the war? How fair? Overemphasised for the purpose of the film? The contrast with the Germans? The picture of the resistance?

15. The documentary flavour of the film, the initial introductions, testimonies from historical people? Odette’s final words, the decorations? Was this an effective war film?