The Night of the Generals 1967 123movies

Watch: The Night of the Generals 1967 123movies, Full Movie Online – In 1942 Warsaw, a Polish prostitute is murdered in a sadistic way. Major Grau (Omar Sharif), an Agent from German Intelligence who believes in justice, is in charge of the investigation. An eyewitness saw a German General leaving the building after a scream of the victim. A further investigation shows that three Generals do not have any alibi for that night: General Tanz (Peter O’Toole), Major General Klaus Kahlenberge (Donald Pleasence), and General von Seidlitz-Gabler (Charles Gray). The three avoid direct contact with Major Grau and become potential suspects. As Major Grau gets close to them, he is promoted and sent to Paris. In 1944 Paris, this quartet is reunited, and Major Grau continues his investigation. Meanwhile, a plan for killing Adolf Hitler is plotted by his high command, a romance between Ulrike von Seidlitz-Gabler (Joanna Pettet) and Lance Corporal Kurt Hartmann (Sir Tom Courtenay) is happening and Inspector Morand (Philippe Noiret) is helping Major Grau in his investigation. The story ends in 1965, in Hamburg, with another, similar crime..
Plot: A German intelligence officer investigates a prostitute’s killing in Warsaw during World War II. He lands on three major Nazi generals as suspects, two of whom are also involved in a plot to kill Adolf Hitler.
Smart Tags: #general #prostitute #murder #prostitute_killer #nazi_occupied_poland #plot_to_kill_hitler #world_war_two #stauffenberg_bomb_plot #homosexual_subtext #conspiracy #corporal #year_1942 #year_1944 #british_actor_playing_german_character #year_1965 #hamburg_germany #nazi_germany #major #reference_to_vincent_van_gogh #reference_to_richard_wagner #reference_to_frederic_chopin

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Ratings:

	7.2/10 Votes: 8,278
	43% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 125 Popularity: 9.454 | TMDB

Reviews:

Please Pass the Tofranil
This movie mixes several points together. They are not exactly seamlessly joined, true, but each is followable and interesting in its own right. In no particular order, we have the irony of ex-Wehrmacht officers and men doing quite all right in the 1960s Wirtschaftswelle of Germany. One of the characters we’ve been following remarks that these damned Spaniards and Italians he now has working for him in his factory don’t know how to make Volkswagons. Back to the occupation of Europe, there is the overall context in which the Germans are losing the war, but nothing much is made of this except to the extent that it generates a movement among (some of) the officers to eliminate Hitler, a movement about which Major Grau (Omar Sharif), investigating the slaughter of a prostitute, observes cynically that it took quite a while for the movement to develop since the army seemed satisfied enough as long as they were winning.

The French police officer who is helping him (the ever-sympatico Philippe Noiret) asks Major Grau why he is obsessed with tracking down the murderer of a whore in the midst of mass demise, and Grau says he resents the murderer’s thinking he can play God. Noiret asks, “And you can?” Grau replies neatly, “My blasphemy is on a smaller, more secular scale.” (Some of the dialog is pretty nifty.) Omar Sheriff gives what may be his finest performance on film. He may have been all masculine in “Lawrence of Arabia” but here he is effete, suggestive in the most delicate way of homosexuality. It’s in the way he holds a cigarette, the way he dances up a flight of stairs.

The search for the murderer, whose identity is stupefyingly obvious shortly into the picture, provides a police procedural that forms the movie’s spine or at any rate its notochord. There is even a romance that is not simply thrown in but is fairly well integrated into the plot and important to the outcome. The cast is good — and what a caste! Peter O’Toole has been criticized for repeating his neurotic tricks from Lawrence of Arabia, but I didn’t find it derivative at all. Lawrence was subtly mad. General Tanz is completely, screamingly, eye-twitchingly, dripping with sweatly, NUTS. There are two scenes in which Tanz enters a locked room to view “decadent art.” One of them is a self portrait of Van Gogh. In each scene Tanz and Vincent stare back at one another, two psychotics, and “I know exactly who you are” seems to be written all over Van Gogh’s scowling face. Both times Tanz is overcome and seems to dissolve into a myoclonic fit.

The novel by Hans Helmutt Kirst was a lot funnier than the movie, taking advantage of every opportunity to poke fun at German military precision. But there are still amusing incidents left in the film. When Grau meets Tanz at a fancy reception and begins to query him, Tanz leans forward with an expression of distaste and asks, “Are you wearing PERFUME?” Grau, never flappable, replies, “I use a rather strong cologne.” I don’t understand, though, why Tanz wears the uniform of a Wermacht general through most of the film, then shows up at his last confrontation with Grau dressed as an SS officer.

Maurice Jarre was writing effective scores in the late 60s. His “crazy music” sounds like an accompaniment to a marionette show that, when one thinks about it, isn’t entirely inappropriate. The murderer meets his just end (while sensibly drunk as a skunk in the novel) but the story is fundamentally a tragic one. Too many deaths of good people. Too many lives ruined for nothing. What a shame the Hitler plot didn’t work. It should ideally have been mounted back in 1938.

Other Information:

Original Language en
Runtime 2 hr 28 min (148 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Crime, Drama, Mystery
Director Anatole Litvak
Writer Joseph Kessel, Paul Dehn, Hans Hellmut Kirst
Actors Peter O’Toole, Omar Sharif, Tom Courtenay
Country United Kingdom, France
Awards 1 nomination
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Westrex Recording System), Mono (Westrex Sound Recording)
Aspect Ratio 2.35 : 1
Camera Panavision Cameras and Lenses (uncredited)
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France (as “Laboratoires Franay” L.T.C. St. Cloud), Technicolor (print by) (as Technicolor ®), Technicolor, London, UK (uncredited) (color)
Film Length 3,920 m (Italy)
Negative Format 35 mm
Cinematographic Process Panavision (anamorphic) (filmed in) (as Panavision ®)
Printed Film Format 35 mm