I think this movie was probably a lot more powerful when it first debuted in 1943, though nowadays it seems a bit too preachy and static to elevate it to greatness. The film is set in 1940--just before the entry of the US into the war. Paul Lukas plays the very earnest and decent head of his family. He's a German who has spent seven years fighting the Nazis and avoiding capture. Bette Davis is his very understanding and long-suffering wife who has managed to educate and raise the children without him from time to time. As the film begins, they are crossing the border from Mexico to the USA and for the first time in years, they are going to relax and stop running.

The problem for me was that the family was too perfect and too decent--making them seem like obvious positive propaganda instead of a real family suffering through real problems. While this had a very noble goal at the time, it just seems phony today. In particular, the incredibly odd and extremely scripted dialog used by the children just didn't ring true. It sounded more like anti-Fascism speeches than the voices of real children. They were as a result extremely annoying--particularly the littlest one who came off, at times, as a brat. About the only ones who sounded real were Bette Davis and her extended American family as well as the scumbag Romanian living with them (though he had no discernible accent).

It's really tough to believe that the ultra-famous Dashiel Hammett wrote this dialog, as it just doesn't sound true to life. The story was based on the play by his lover, Lillian Hellman. And, the basic story idea and plot is good,...but the dialog is just bad at times. Overall, an interesting curio and a film with some excellent moments,...but that's really about all.

Watch On The Rhine started as a Broadway play by Lillian Hellman who wrote the film and saw it open on Broadway at a time when the Soviet Union was still bound to Nazi Germany by that infamous non-aggression pact signed in August of 1939. So much for the fact that Hellman was merely echoing the Communist party line, the line didn't change until a couple of months later. Lillian was actually months ahead of her time with this work.

The play Watch On The Rhine ran from April 1941 to February 1942 for 378 performances and five players came over from Broadway to repeat their roles Frank Wilson as the butler, Eric Roberts as the youngest son, Lucile Watson as the family matriarch and most importantly villain George Coulouris and Paul Lukas.

Lukas pulled an award hat trick in 1943 winning an Oscar, a Golden Globe, and the New York Film Critics for Best Actor. Probably if the Tony Awards had been in existence then he would have won that as well. The Oscar is even more remarkable when you consider who he was up against, Humphrey Bogart for Casablanca, Gary Cooper in For Whom The Bell Tolls, Mickey Rooney in The Human Comedy, and Walter Pidgeon for Madame Curie. Every one of his competitors was a bigger box office movie name than he was. Lukas's nomination is usually the kind the Academy gives to round out a field.

Jack Warner knew that which is why Mady Christians did not repeat her Broadway part and the role of Lukas's wife was given to Bette Davis. Davis took the part not because this was an especially showy role for her, but because she believed in the picture and just wanted to be associated with it. It's the same reason she did The Man Who Came To Dinner, a much lighter play than this one.

Davis is the daughter of a late American Supreme Court Justice who married a German national back in the Weimar days. After many years of being vagabonds on the continent of Europe, Davis Lukas, and their three children come to America which has not yet entered the European War. They're made welcome by Lucile Watson who is thrilled naturally at finally meeting her grandchildren.

The fly in this ointment are some other house guests, a friend of Davis's from bygone days Geraldine Fitzgerald and her husband who is also from Europe, a Rumanian diplomat and aristocrat George Coulouris. Coulouris is a wastrel and a spendthrift and he smells an opportunity for double dealing when he suspects Lukas's anti-fascist background.

His suspicions are quite correct, it's the reason that the family has been the vagabonds they've become. Lukas fought in Spain on the Republican side and was wounded there. His health has not been the same since. His family loyally supports him in whatever decision he makes. Those decisions affect all the other members of the cast.

Adding quite a bit more to the Broadway play including some lovely fascist creatures was Dashiell Hammett who was Lillian Hellman's significant other. Coulouris playing cards at the German embassy was a Hammett creation with such loathsome types as Henry Daniell, Kurt Katch, Clyde Fillmore, Erwin Kalser and Rudolph Anders.

Coulouris is truly one of the most despicable characters ever brought to screen as the no account Runmanian count. He was a metaphor for his own country who embraced the Nazis with gusto and then equally repudiated them without losing a step after Stalingrad.

Lucile Watson was up for Best Supporting Actress in 1943, but lost to Katina Paxinou in For Whom The Bell Tolls. Dashiell Hammett was nominated for best adapted screenplay and the film itself lost for Best Picture to that other anti-fascist classic, Casablanca.

Though it's an item firmly planted in those specific times, Watch On The Rhine still packs a stern anti-fascist message that bears repeating infinitely.

Despite the mixed critical reaction here, with very strong opinions on both sides (some from trusted reviewers),there was no chance of not putting 'Watch on the Rhine' on my watchlist for a few reasons. The big reason was for the cast, being especially a big admirer of Bette Davis, but there was also the interesting message and the awards attention (was particularly intrigued by how Paul Lukas' Oscar-winning performance would compare to the oft-mentioned Humphrey Bogart's, one of the all-time great screen performances, in 'Casablanca').

While its good intentions are laudable and appreciated, and there are definitely things that work in its favour, 'Watch on the Rhine' disappointed me quite greatly. Am in no way saying that nobody should see 'Watch on the Rhine' (it takes a lot for me to say that anything is something to avoid),actually it is worth a one time watch, but for me there are quite a number of serious drawbacks that really undermine the film's quality. And that is sadly including the execution of the message.

Visually, 'Watch on the Rhine' has held up well and is atmospherically photography. Max Steiner's music score is typically luscious and didn't sound over-scored to me, and there are enough moments of intelligent direction. Likewise with moments of sophisticated moments and genuinely poignant ones, complete with a suspenseful ending.

Lukas is excellent in his role and has never been better in my view, personally would have given the Oscar to Bogart but that is in no way disparaging Lukas. Lucille Watson sparkles and is the other cast standout. Davis has been criticised for being too mannered and overwrought, for me she was quite affecting. Henry Daniell is suitably icy and Geraldine Fitzgerald does what she can and succeeds despite her screen time being shorter than one would think looking at the cast list.

Not all the cast work, with too many of the adults being underused in underwritten roles, Beulah Bondi is one of those especially wronged. Worse are the children, who are quite stiff and Eric Roberts (no not that Eric Roberts) really grates on the nerves. The characters struck me as too black and white, meaning either too perfect or irredeemably evil.

The message is a good and inspiring one and has its heart in the right place. Like others have said, the problem is the way it's put across with it being far too preachy. The stage origins are completely betrayed too in the drama tending to feel too confined and like a filmed stage play not opened up enough. As well as in the dialogue, which is too talky and rambling despite thoughtful and well intended moments, and particularly the pacing, with too many parts dragging badly.

Concluding, some fine things and has its heart in the right place but heavily flawed. 5/10