Stalag 17

Stalag 17 is a somewhat uneven mix of comedy and drama that hits more often then it misses.

Set during World War II, William Holden is terrific in his Oscar winning role as a cynical soldier who wheels and deals his way into as comfortable a life as possible in a German prison camp. His part makes the movie worthwhile as it manages to compensate for some of the stilted humor.

Perhaps it’s due to Wilder working with Edwin Blum on the script rather than I.A.L. Diamond, with whom Wilder would later make his best films, or perhaps the humor is just dated, but either way, many of the overdone antics of the prisoners, particularly Robert Strauss, fall flat. Strauss, of course, received an Oscar nomination for his performance.

Thankfully, the film’s strong dramatic undercurrent isn’t so afflicted. Otto Preminger is great as the prison director, managing to convey a seething menace behind a vale of cordiality, as does Sig Ruman who simply substitutes friendliness for cordiality.

Stalag 17 does wrap up very well, with a perfect ending that leaves a good taste in your mouth and goes a long way toward glossing over the aforementioned bumps with the comedy. Ultimately, though, the fact that the film works so well when it’s on makes its flaws all the more apparent.