‘Pimpernel’ Smith (1941)

• Year: 1941
• Released: 28 Jul 1941
• Country: United Kingdom
• Adwords: 1 win
• IMDb: https://www.imdb.com/title/tt0034027/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/pimpernel_smith
• Available in: 720p, 1080p,
• Language: English, German, French
• MPA Rating: Passed
• Genre: Adventure, Drama, Thriller
• Runtime: 120 min
• Writer: Anatole de Grunwald, A.G. Macdonell, Wolfgang Wilhelm
• Director: Leslie Howard
• Cast: Leslie Howard, Francis L. Sullivan, Allan Jeayes
• Keywords: world war ii, nazi, british spy,

	7.2/10
	76% – Audience

‘Pimpernel’ Smith Storyline

Spring, 1939. The Nazis are frustrated that a number of men, German nationals and non-nationals alike that have refused to work for them, have managed to escape from the country with the aid of unknown rescuers or perhaps a sole rescuer. As such, the Nazis have begun to round up such men who have remained in Germany to house them in concentration camps as enemies of the Reich, all this information quashed by the Ministry of Propaganda. Meanwhile, Horatio Smith, a mild-mannered, pacifistic, often absent-minded and seemingly misogynistic Professor of Archaeology at Cambridge University, has recruited six of his male students to accompany him to Germany on his latest three-month post-term expedition into his research of whether an Aryan race did ever exist in Central Europe, work supported by the German government. What they and everyone else is unaware of is that Smith is that rescuer, this trip to Germany just a cover for his latest mission to free whoever needs to be freed from the Nazis. He realizes that his outward demeanor to the world makes him the perfect person for such work in no one ever suspecting him. He wants to retain his secret identity as the rescuer as the fewer people who know or need to know, the safer it is for all concerned. Coinciding with Smith’s expedition, Nazi General von Graum, who is leading the investigation into the escapes, believes the rescuer is not only British, but will be attending a reception at the British Embassy in Berlin. As such, he enlists the assistance of a young woman by the name of Ludmilla Kohls to help identify the perpetrator at the reception, she who he is certain can and will assist and may be more perceptive about such matters to Smith’s detriment than von Graum, he suspecting the typical strong, masculine type.

‘Pimpernel’ Smith Play trailer

‘Pimpernel’ Smith Photos

‘Pimpernel’ Smith Torrents Download

‘Pimpernel’ Smith Subtitles Download

‘Pimpernel’ Smith Movie Reviews

fun WWII era anti-Nazi flick

This film was created to drum up morale among the British people and to portray their cause as just to the Americans (who were not yet in the war). And, in this endeavor, it does a wonderful job. The Nazis are really bad and the British people plucky and decent–exactly the message they were trying to get across.

This story is a reworking of THE SCARLET PIMPERNELL–being updated to the the then present time instead of during the French Reign of Terror. Leslie Howard does a fine job playing the lead and the film is a better record of his acting talents than most of his movies. The direction and writing, as well, were excellent. No complaints at all about this film. Give it a try–it’s a great time passer.

Awesome … but see the original first!

Leslie Howard was an actor’s actor, the highest form of praise, a man whose skill at his craft would allow him to blend into almost any character, any role. While he left behind for fans of the future many fine performances, it is generally thought that one of his best was the original Scarlet Pimpernel in which he had to play what was arguably one of the screen’s first “superheros” complete with a secret identity. In the iconic original he manages to effectively portray the mild-mannered fop (more interested in clothing than fighting); the warrior and man of action known as the Pimpernel; and even the romantic counter-part to his wife (who, in a brilliant sub-plot, was also not what she seemed, but for entirely different reasons). It was an astonishing portrayal. Hollywood being what it is (was?)

Howard was given a second chance to play the same character in a modern setting, as an underground agent working against the Nazis on their own soil. The script, direction, and acting are all superb. The only negative is that this film TAKEN ON ITS OWN might seem contrived and over-written. Unless – THIS IS THE KEY — you see the original first. Remember that this was the era before 500 cable channels and streaming video. It is a ‘given’ that the audience for this film was familiar with the first. So if you you follow their footsteps and see the films in proper order, the sheer bravado and outrage within this script will pop, and you will enjoy a tremendously entertaining film by a master at the top of his craft.

In particular, the exchanges between Howard and his nemesis, played by Francis L. Sullivan, and are the stuff of legend.

And the scene where Howard, playing a die-hard bachelor, shows a photo of his lifelong love (the statue Aphrodite) to the character played by Mary Morris and then tears it up in front of her … remains one of the most romantic scenes ever films. A declaration of love with no words spoken.

The pity is that being B&W this film will have a smaller and smaller audience in years to come. Pity.

Smith has his say!

Leslie Howard (Professor Horatio Smith), Francis L. Sullivan (General von Graum), Mary Morris (Ludmilla Koslowski), Hugh McDermott (David Maxwell), Raymond Huntley (Marx), Manning Whiley (Bertie Gregson), Peter Gawthorne (Sidimir Koslowski), Allan Jeayes (Dr Beckendorf), Dennis Arundell (Hoffman), Joan Kemp-Welch (teacher), Philip Friend (Spencer), Lawrence Kitchen (Clarence Elstead), David Tomlinson (Steve), Basil Appleby (Jock McIntyre), Percy Walsh (Dvorak), Roland Pertwee (Sir George Smith), A.E. Matthews (Earl of Meadowbrook), Aubrey Mallalieu (dean), Ernest Butcher (Weber), Ben Williams (Graubitz), Hector Abbas, Oriel Ross, George Street, Arthur Hambling, Harris Arundel, Suzanne Clare, Charles Paton, Ronald Howard, Roddy Hughes.

Director: LESLIE HOWARD. Screenplay: Anatole de Grunwald. Adapted by Roland Pertwee, Ian Dalrymple and Anatole de Grunwald from an original story by A.G. MacDonell and Wolfgang Wilhelm. Photography: Mutz Greenbaum, Jack Hildyard. Film editor: Douglas Myers. Music composed by John Greenwood, directed by Muir Mathieson. Associate producer: Harold Huth. Producer: Leslie Howard. Executive producer: Edward Small. (The Suevia DVD rates 10/10).

Copyright 15 December 1941 by United Artists Corp. A British National Picture. U.S. release through United Artists. New York opening at the Rivoli: 12 February 1942. U.K. release through Anglo- American: 26 July 1941. Australian release through British Empire Films: 12 March 1942. 11,003 feet. 122 minutes. U.S. release title: Mister V.

SYNOPSIS: Nazi Germany before the War: a Cambridge professor and a group of students, are digging for evidence of early Aryan Civilisations. But the Professor quickly becomes the ingenious foe of the Nazi Regime.

COMMENT: “Pimpernel Smith” appeared about a year after Dunkirk, and was intended to make the Nazi regime appear ridiculous. The plot of the film, as the title implies, is a variation on Baroness Orczy’s novel, “The Scarlet Pimpernel”. To translate the 18th century fop Sir Percy Blakeney into 20th century terms and the cunning but shabby Chauvelin into his equivalent as a Nazi agent could have been done with comparative ease. Instead, Howard has made his Pimpernel all tweeds and tobacco and forgetfulness.

“Pimpernel Smith” came in third at the British box office in 1941. (“49th Parallel” was first, Chaplin’s “The Great Dictator” second). The movie was equally successful in Australia — in fact was so popular it was still being commercially screened in the 1960s, one of a mere handful of wartime British product still available from Australian 35mm exchanges.

You’d think that such an exceptionally popular film would regularly turn up on Australian television, wouldn’t you? Hell, no! We all know what utter contempt TV program managers have for the likes and dislikes of their viewers. No “Pimpernel Smith”, thank you.

Despite the wartime propaganda it’s still a vastly entertaining movie which oddly has dated far less than the original “Scarlet Pimpernel” which had the advantage of being set in period. Howard and Sullivan make such wonderful adversaries, and Howard has directed with such flair, making full use of some really impressive sets!

Photography and other credits are equally polished. And incidentally the scene I can never forget has Howard escaping across a field, the Nazis in hot pursuit, firing wildly. Howard seems to disappear. Then the camera tracks across to a ragged scarecrow and pans slowly down its arm. Blood!