UNCERTAIN GLORY is one of those films that promises more than it delivers. What might have been a tense cat-and-mouse chase between a police inspector and his quarry during the German occupation of France in World War II, has emerged as no more than a fairly interesting story with a rather unconvincing ERROL FLYNN nobly turning himself in as a sacrificial lamb against the slaying of 100 Frenchmen.
Flynn, for the most part, is right on target with his performance. But it's the final scenes where he becomes noble enough to want to sacrifice himself that are hard to believe. This is probably more the fault of the script than the actor.
PAUL LUKAS does a decent job of the man on his track for fifteen years who finally has a chance to see that he gets the guillotine. But after an interesting start, with Flynn about to be executed, the story goes astray when British fliers bomb the area and he is able to escape. None of the subsequent incidents are developed with enough force to maintain suspense.
Jean Sullivan as Flynn's brief female love interest adds nothing to the film's overall impact--but Faye Emerson and Sheldon Leonard at least give some spark to their supporting roles. The same cannot be said for Lucille Watson, an excellent character actress wasted in an unconvincing supporting role.
Certainly not one of Flynn's best films--nor could Raoul Walsh's direction help this uninspired story--but it has enough to keep the viewer fairly well involved until the nobility angle sets in.
Flynn, for the most part, is right on target with his performance. But it's the final scenes where he becomes noble enough to want to sacrifice himself that are hard to believe. This is probably more the fault of the script than the actor.
PAUL LUKAS does a decent job of the man on his track for fifteen years who finally has a chance to see that he gets the guillotine. But after an interesting start, with Flynn about to be executed, the story goes astray when British fliers bomb the area and he is able to escape. None of the subsequent incidents are developed with enough force to maintain suspense.
Jean Sullivan as Flynn's brief female love interest adds nothing to the film's overall impact--but Faye Emerson and Sheldon Leonard at least give some spark to their supporting roles. The same cannot be said for Lucille Watson, an excellent character actress wasted in an unconvincing supporting role.
Certainly not one of Flynn's best films--nor could Raoul Walsh's direction help this uninspired story--but it has enough to keep the viewer fairly well involved until the nobility angle sets in.