The Key

An extraordinary movie in every way, from the combat scenes, which are so lifelike as virtually to constitute a documentary, to the superb acting by every single member of the cast, including each of the supporting players. But the very highest praise must go to Sophia Loren's absolutely stunning performance (not to mention her uncanny command of English at so early an age). Her quiet, dignified, and restrained interpretation of her very unusual and extremely demanding role is simply in a class by itself. I have never been able to get her graceful performance out of my mind. This is one of those movies of great merit, bewitched from the start, that simply disappear from public and critical consciousness---never to be recalled or mentioned even when, for example, the careers of Loren, Holden, or Trevor Howard are discussed. It is as if it were never made at all. A great shame.

As a master (captain) of salvage tugs I can attest to the incredible reality of the shipboard scenes. I have seen no other film that rivals the scenes shot at sea for this film. I found the film riveting for both the action at sea, and the drama ashore.

The plot develops as the characters develop. Will the ship complete her mission? Will the captain return to the apartment? Will the characters overcome the obstacles before them, both emotionally and physically?

Trevor Howard is the perfect old salt, full of bravado, yet terrified.

William Holden, the optimistic American.

Sophia Loren played the role of Stella perfectly! She is the despondent, cynical, war shocked shell in whom we are drawn to share William Holden's hope.

I was mesmerized to the end.

This excellent film comes within director Carol Reed's golden period that began with 'Odd Man Out' in 1947 and ended with 'Our Man in Havana' in 1959. Any director, even one in the same class as Reed, requires a good script to interpret and here he has a superlative screenplay by Carl Foreman based upon the novel 'Stella' by Jan de Hartog which deals with the incredible bravery of tug crews whose job it is to rescue damaged ships in a stretch of the Atlantic known as 'U-Boat Alley'.

William Holden and Trevor Howard play tugboat captains and Sophia Loren plays Stella with whom their fates are inextricably linked. She is regarded as a 'jinx' to the ill-fated men who have in their turn been given the key to her apartment. The question is will Holden's character suffer the same fate.....?

Loren gives a beautifully sympathetic and understated performance, one of her finest actually. Holden never disappoints and Howard whose film career owed a great deal to Reed, picked up a BAFTA. Mention must also be made of Oscar Homolka and Bernard Lee. The editing by Bert Bates is exemplary, especially the suspenseful battle sequences, while Malcolm Arnold's score is powerful without being overpowering. Of the two endings that Reed was obliged to shoot the one here is far less happy but far more dramatic.

A deceptive war drama which is really a fantastical love story in the vein of Billy Wilder's LOve in the Afternoon. William Holden plays the lead, and what character does he play but a reluctant dogged, selfish seeming individual who resists authority and wears cynicism on his face, mien and posture like a pair of brown well-trodden in sandals. No one did better and he does it excellently yet again. America is yet to enter WWII but Holden is sent to join the Britisn Navy and commandeer tug boats who make rescue missions for other vessels but carry no ammunitions to defend themselves. Thus when called up, the men know they are goners, thus they are known as suicide missions. Sophia who might just be the best foreign actress completely nails her part as the unkempt woman who has lost her will to live when the war took the lives of her family leaving her alone in the world. Therefore, she becomes a kept woman in an apartment, where the key of the title is passed by men who see themselves as goners on a suicide mission to the next fellow who takes up residence till he gets his own suicide call. The scenes are gritty and the ocean scenes realistic in the style of the French new wave. Trevor Howard is fantastic as the man who breaks Holden in and their camaraderie anchors the movie. The score is strange and the way director Reed paces and uses shadows, you think it might turn into a horror movie anytime soon but he is really planting the seeds of love in our heads. Based on a novel by Jan de hartog a Tony winning playwright, the adaptation is fantastic, true and not preachy. As Holden does everything to stay alive and Loren does everything not to, the question of why do we live that everyone asks is tested. The last fifteen minutes and breaks, copies and redounds the rules of this to and ending that is well deserved and earned. Mr. carol Reed , thank you for the effort. Thsi movie which underperformed in the US was a smash hit overseas, a tradition that would become part of Sophia's career. Sophia who at this point had not shown any real proclivity for drama walks like a shining gem and shows why she is one of the few foreign actresses to be nominated more than once for the Oscar in a foreign language performance. Well done!

Sophia Loren shines in a rather somber role as a woman in England who obstinately attaches herself to British naval officers that are involved in some of the most dangerous assignments in the war. Their job is to try to rescue the crews and cargo of ships that have been destroyed by Nazi ships or submarines. Since the Nazis know exactly where the battle took place, they know where the rescue ships are going to be, so the death rate among the rescue teams is very high. The great Trevor Howard gives a wonderfully understated performance, and William Holden also holds his own very well. The film is rather slow, though I prefer to call it casually paced. The wartime atmosphere of southern England is illustrated with good detail, and the action sequences are well-choreographed and suspenseful. It's not a great film, but I prefer it to most of those 'stiff upper lip' wartime melodramas that England and Hollywood produced in the forties.