Movie Line: Jessica Kellgren-Hayes

A classic film review this week, looking at Fritz Lang’s Ministry Of Fear

The great Fritz Lang’s adaptation of crime writing maestro Graham Greene’s novel, Ministry Of Fear is suffused with dread and paranoia. It is a plunge into the eerie shadows of a world turned on its head by war. Lang was one of the most illustrious of the European émigré filmmakers working in Hollywood during World War Two and his work centred on unpredictable thrillers with style to spare.
In wartime England, Stephen Neale is released from an asylum. Determined to reintegrate into society, Neale makes a beeline for the local railway station, but before the train to London can arrive, he is sidetracked by a seemingly innocent village fete. But, of course, things are not all they seem…
Ray Milland might not have had the widest range as a leading man – and he is no Cary Grant – but there is a certain deportment, class and debonair charm about him.

After a vividly executed and exhilarating gunfight on foot in the countryside during a German bombing raid, Neale finally makes his way back to London. He sets about investigating the mysterious group responsible for organising that strange village fete and nearly getting him killed. Rapidly he is accused of murder, and plunged into a tempestuous mystery of deception, Nazi agents and war secrets! And all played out amongst the day-to-day dangers of the Blitz.
There is a lingering sense of dread throughout, as Neale moves alone through the foggy, bombed-out streets of London, exposing a secret enemy network, hidden beneath the veneer of respectable society. Unable to approach the police due to his criminal record, and with everyone he meets a probable enemy – including the beautiful and resourceful femme fatale, Carla – both Neale and the audience’s judgments must cut through the fog of deception. Carla becomes his chief ally but her motivations and true allegiances are unknown…

From the outset the psychological state of Milland’s character is hinted at, but only explored in a couple of scenes later on; chiefly that in which Neale, caught in an air raid and forced to a shelter with Carla, confesses the reason for his incarceration in an asylum. Beyond this there isn’t a great deal more insight into his psyche. Admittedly, something which might add depth to the movie.
There is also a somewhat unfortunate ‘happy ending’ scene tacked on to the end of the film… but I love a happy ending, no matter how superficial! Even if you don’t; this is a top-notch absolute classic of a film, with many memorable scenes, including a creepy, atmospheric fake séance.
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