Rick Burin finds much to enjoy in this thrilling wartime drama, including a turn by the legendary star of silent cinema Lillian Gish.
Orders to Kill is a mixture of thriller, human drama and expressionist nightmare along the lines of Powell and Pressburger’s The Small Back Room, but with an added dimension.
Beginning wittily, it weighs in with the big themes about a half hour in, asking what can be justified in times of war. Paul Massie plays an American bomber pilot sent to Paris to rub out a suspected traitor (Leslie French). We follow his training, then the mission itself, as Massie’s initial excitement gives way to uncertainty and disorientation.
Incredibly, the cast includes not only former silent screen titan Lillian Gish, who is quietly magnificent, but also British cinema’s finest buffoon, James Robertson Justice, playing an expert in execution with an unexpected depth. Drawing immense power from Massie’s central performance, this is an intelligent, adult, and almost unbearably tense war drama, with at least one moment of sheer jaw-dropping terror. It also features a sublime ‘fun house’ training sequence that has imagery worthy of noir pioneers John Alton and Nicholas Musuraca.
A searing examination of the nature of courage. Young American bomber pilot Gene Summers (Paul Massie) is sent to Nazi-occupied France to kill a man believed to be betraying his comrades in the French resistance. Willing to do his duty and kill on command from the air, he finds it a very different proposition when having to murder with his own bare hands. Gaining the trust of his would be target, hen-pecked husband Marcel Lafitte (Leslie French), he comes to suspect the man is really innocent, but his misgivings are brushed aside by his superiors.
Faced with the grim choice between blind obedience to his mission and the death of an innocent man, his decision and its consequences form the climax of this powerful study of the conflict between conscience and duty.