February
21, 1950, release date
Directed
by Mitchell Leisen
Screenplay
by Robert Thoeren
Based on
the novel No Surrender by Martha
Albrand
Music by
Hugo Friedhofer
Edited by
Alma Macrorie
Cinematography
by John F. Seitz
Wanda Hendrix as
Baronessa Giulia (“Julie”) de Greffi
Francis Lederer as
Barone Rocco de Greffi
Paul Lees as Frank,
Carey’s fellow OSS agent
Joseph Calleia as Dr.
Lunati
Celia Lovsky as
Countess Francesca de Cresci
Richard Avonde as
Count Carlo de Cresci
Frank Puglia as Luigi
Luis Alberni as
Sandro, the innkeeper
Maria Tavares as
Lucia, inn employee
George J. Leweis as
Giovanni, inn employee
Angela Clarke as
Serafina
Roland Winters as
Manfredo Acuto
Ray Walker as Mr.
Simmons
Jane Nigh as Nancy
Russ (aka Rusty)
Tamblyn as Pietro
Virginia Farmer as
Angelina
David Leonard as the
blind musician
Distributed
by Paramount Pictures
Produced
by Paramount Pictures
Captain
Carey U.S.A. is all about grand
themes of betrayal during wartime, in this case, during World War II, and
settling old scores postwar. It is the story about an Office of Strategic
Services (OSS) agent, Captain Web Carey, who is looking to avenge the betrayal and
murder of his OSS partner, Frank, and his civilian collaborator (and
girlfriend), Giulia de Cresci.
After the
opening credits, the film starts with a map and voice-over narration, creating a
semidocumentary feel. The voice-over narrator explains how Nazis entered
northern Italy in 1944 looking for American OSS agents who had parachuted into
the country to spy and sabotage. After the brief voice-over introduction, the
film turns to its fiction story, which begins with Carey’s war work in 1944. He
and Frank, a fellow OSS agent, steal a German courier’s pouch containing troop
dispositions and train schedules. Such information would be vital to the Allies
because they could anticipate Nazi troop movements and prevent attacks. Frank
begins coding the stolen information for radio transmission.
Web and
Frank operate out of the basement of the de
Cresci family palazzo. They have the help of Giulia de Cresci, who is the
granddaughter of the owner of the palazzo and Web’s girlfriend. She tells Carey
that her brother Carlo disappeared in Rome under mysterious circumstances, and
they have little hope of discovering his whereabouts or what happened to him as
long as the war continues and maybe even after its end. Their grandmother is
heartbroken about it because Carlo is the last male de Cresci heir.
In a secret room in
the basement of the de Cresci palazzo are several valuable paintings and all
the supplies that the OSS agents brought with them. Giulia and Carey talk about
one of the paintings and imagine hanging it in their living room one day. They
want to marry after the war, but their plans are thwarted because Carey and
Frank have been betrayed. German soldiers arrive at the de Cresci family estate
to find them. Frank is killed. Carey is shot. Giulia is carried off by Nazi
soldiers. The camera closes in on Carey’s bleeding face and off-camera, Carey
and viewers hear a scream and a gunshot. Carey and viewers assume that Giulia
has been shot dead.
(This blog post about
Captain Carey U.S.A. contains spoilers.)
After the end of the war
(four years later), Carey sees the painting that he and Giulia talked about in
an art gallery in New York. The owner of the gallery tells Carey that the
painting was obtained through the gallery’s agents in Switzerland, but he
refuses to say any more than that. Carey tells the woman with him, his
girlfriend, that he wants to hunt down the person who sold that painting
because it was the person who betrayed him, Frank, and Giulia. The fact that
the gallery owner refuses to reveal anything more about how he acquired the
painting is a clue that the wartime black market is still in operation during
peacetime and that the painting was likely obtained fraudulently.
Captain Carey U.S.A. is something of a history lesson for modern viewers. Recovering
art stolen from Jews and others before and during World War II is an ongoing issue,
even today. Click on each item list below for more information:
Carey makes good on
his declaration about finding the person who sold the de Cresci painting and returns
to Novara, the town where he was captured during the war. When he gets off the
bus in the town square, an accordion player starts playing “Mona Lisa,” the
film’s theme song. It is more than a theme song, however; it also served as a
warning signal for the Italian Resistance during the war. With Carey’s return
to Navarro, it seems the song “Mona Lisa” is now used to warn the townspeople
of Carey’s arrival. All the townspeople take note and do their best to avoid Carey:
They believe he is the harbinger of bad luck.
During
World War II, the song was a way to communicate the approach of danger (usually
approaching Nazi soldiers) for the Americans and for the Italians fighting in
the resistance. The song is used throughout the film in different ways in
different contexts. It always warns of danger, but the form of that danger
changes as the film progresses. When Carey returns to Italy, the local
accordion player uses the song to announce his arrival. That same accordion
player uses it to warn Carey about the approach of police officers or of people
who wish him harm as Carey’s investigation into Frank’s and Giulia’s deaths progresses.
Web Carey discovers
that Giulia’s brother, Count Carlo de Cresci, is alive and back home after
being reported missing during the war. Giulia is still alive too, and she is now
married to Barone Rocco de Greffi, much to Carey’s (and Giulia’s) dismay. Carey
asks about the painting that he saw in the New York City art gallery. But no
one seems to know anything about it anymore.
• Countess Francesca de Cresci: “About the painting, Mr.
Carey. You say it is valuable. What are we to do?”
• Carey: “When you lose something you thought was valuable?
I don’t know, Contessa. Bleed a little. Forget it, I guess.”
Carey’s words refer
to Giulia, someone he feels that he has now lost twice. He believed for years
that she had died in the wartime Nazi raid, and now he finds that she is lost
to him again because she is alive but she has married someone else. The painting
was just a valuable clue to help him find what was really most valuable to him.
But Carey and Giulia cannot forget, and it’s a good thing, too, or the film
would have no more plot! The two of them decide to find out together what
happened all those years ago during the war.
Captain
Carey U.S.A. is a perfect example
of a film noir in which the details matter. I have seen the film more than once,
and it was only on second viewing that I had a much better grasp of the plot.
Everything matters in this film. The theme song “Mona Lisa” is intricately
woven into the plot. It serves as a warning song for different people and for
different reasons throughout. From the first sequence in the film, viewers need
to keep track of the characters and their activities because every detail comes
up again later in the film. There are even shots in which the background is the
most important focus for the action. It’s easy, I think, for modern viewers to
focus on the foreground of a shot or a scene, but for Captain Carey U.S.A., it pays to examine both the background and
the foreground in several shots, especially in the second half of the film.
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