Return from the Ashes

J. Lee Thompson may have been only a jobbing director but he was one of the best, graduating from British studio pictures in the fifties to international hits such as "Ice Cold in Alex", "Northwest Frontier" and "The Guns of Navarone". The latter earned him an Oscar nomination and the chance to work almost exclusively in America where he made "Cape Fear", one of the best thrillers of the sixties. In 1965 he made another first-rate thriller, "Return from the Ashes", which used the War and the Holocaust as jumping off points for an almost Hitchcockian tale of murder and greed, set in Paris but filmed in a British studio with an international cast. If the plot is more than a little convoluted, Thompson's handling of Julius Epstein's fine script and first-rate performances from Maximilian Schell, Ingrid Thulin and Samantha Eggar go a long way in making this one of his most entertaining films. Thulin is the rich Jewish doctor, thought to have died in a concentration camp, Schell the gigolo who marries her for her money and Eggar the duplicitous daughter who's having an affair with Schell and the good thing is it doesn't quite go the way you expect it to. It's also superbly shot in widescreen black and white by Christopher Challis and is certainly worth seeing.

Moviecut—Return from the Ashes

source: Return from the Ashes

This will keep you confused till the end. Written in classic theatrical play/film style of Agatha Christie. Excellent performances by Maximillian Schell and Samantha Eggar illustrates why they can be called stars. Herbert Lom is far removed from the Inspector Clouseau comedies.

A highly entertaining, rarely seen melodrama with a lot of grim underpinnings. Ingrid Thulin is released from a Nazi concentration camp to find that gigolo husband Maximilian Schell has shacked up with her stepdaughter. What ensues is a roundelay of lies, fraud and murder plots, mostly sprung from the demented mind of Samantha Eggar, giving a great performance as Thulin's neglected stepdaughter, a sociopath who cares only for herself. Eggar & Schell are a match made in hell, but Thulin, very much a survivor, does not fall easily for their shenanigans. Directed with a firm hand by J. Lee Thompson, who keeps the film virtually entirely indoors, adding to the feeling of claustrophobic dread. There are fine performances by the three principles and an excellent supporting role for Herbert Lom (as Thulin's wily colleague). The pre-credit sequences is astounding.

I first saw this film as a young girl. Even at the age of 13, the opening scene struck me with its stark depiction of numb survival. The game of chess comes to symbolize the crafting of a deception, and a murder attempt. A haunting mood permeates the simple, yet effective scenes--one can almost feel the sense of trauma and tragedy of Post War France. The ending is wonderfully satisfying and even somewhat shocking. This film makes no apology for itself--it presents us with a concentration camp survivor who is still in love with a narcissistic user, and we go on from there, somehow suspending all sense of disbelief in the face of masterful acting.

Actually the advertising gimmick was "No one will be allowed to LEAVE the theatre" once the "shattering" bath scene has begun - with an illustration of theatre doors being locked (I'm pretty sure that would have been against the law even then!). At the time this made me think the movie was a slightly highbrow gore thriller of the "Hush, Hush, Sweet Charlotte" or "Whatever Happened to Baby Jane" stamp - if not far, far worse. Seeing the film years later . how on earth did anyone think up such a cheesy marketing gimmick for a respectable drama?

About 25 years ago, I bought a record called "Movies and Me" featuring themes from movies composed by John Dankworth. I knew "Darling" and "The Servant" but I had never heard of the one I liked best: the theme from "Return from the Ashes". Much later, when I finally saw the movie, I realised how perfectly that lilting melody married with the film. "Return from the Ashes" works despite credulity being stretched to breaking point along the way. The true quality of this film is not revealed from a reading of the plot. The movie plays far better than it reads. Shortly before WW2 in Paris, Michelle Wolf, a doctor played by Ingrid Thulin meets a Polish refugee, Stanislaus Pilgrin played by Maximilian Schell. Although warned that he is only after her money, she falls in love with him. When the Germans capture Paris, Stanislaus – in his self-confessed, one gallant act of his life – marries Michelle, who is Jewish, to stop her being deported by the Nazis. But she is sent to a concentration camp anyway. Years later, Michelle returns to Paris under an assumed name. But she is a changed woman emotionally and physically. Thought to be dead, no one recognises her at first. Although she is reacquainted with Stanislaus and her stepdaughter, the beautiful Fabi, played by Samantha Eggar, they believe that she simply bears a strong resemblance to the Michelle they knew. They want her to play Michelle in a complicated plot to retrieve funds that have been frozen since the war. Michelle goes along with the plan not realising that Fabi and Stanislaus have become lovers. After revealing her true identity, Michelle moves into her old apartment with both Stanislaus and Fabi. From there the story becomes darker and darker. After many developments, the movie still has enough energy left to deliver one final twist at the end. "Return from the Ashes" boasts three of the most attractive stars you are likely to see in one movie – Ingrid Thulin, Maximilian Schell and Samantha Eggar. For me, Ingrid Thulin is the standout. Beautiful, calm and sophisticated, she gave the impression that there was a lot more going on beneath the surface. It's surprising Hollywood didn't seek her out more often – possibly she would have made one of the great Hitchcock stars – in an interview, he once singled her out as the epitome of the kind of sexiness he admired, especially in her work for Ingmar Bergman. Despite a "Vertigo" like sequence when Michelle is coached to play what is in reality herself, "Return from the Ashes" does not seem overly influenced by either Hitchcock or film noir. The dramatic use of black and white and the moody quality of the film is due to J. Lee Thompson's personal style. The man who made "Cape Fear" proved once again that he could make a thriller to stand with the best of them.

I'm not quite the fan of this thriller that several other IMDb contributors are. I agree that it has some first-rate acting by Ingrid Thulin as a concentration camp survivor still smitten with her wastrel husband after four years of hell, Samantha Egger as her homicidal stepdaughter and Maxmilian Schell as the penniless scoundrel both women crave. And there's no question that the sensual bathtub murder, complete with a touch of foot fetishism, was well ahead of its time. But from the symbolic opening (a child falling off a speeding railway train while Thulin looks stoically on) through the climactic get-rich-quick scheme, the film is unrelentingly grim. J. Lee Thompson's direction, which assumes that slow-moving and suspenseful are synonyms doesn't help much. And in the end, the characters (aside from Herbert Lom's likable doctor) are not only unsympathetic but don't make much sense.

I have only seen this film once or twice, and it's been four decades ago. It is a sharp little murder story, with a clever scoundrel (Max Schell) who plans to make a real killing - a once in a lifetime shot at a fortune. Schell is a first rate amateur chess player. He happens to meet Ingrid Thulin, a Jewish medical technician who was married before the war to an older, wealthier man. During the war she was in a camp, but she was lucky enough to survive. She is vulnerable now, and she falls for Schell's polite, and then increasingly tender concerns for her. It isn't that she is stupid. She has resumed her career thanks to her closest friend's assistance (more of that later). But her home life is harsh - she only has her step daughter (Samantha Egger) who hates her as a woman who supplanted her mother. Egger is not that much younger than Thulin, and she thinks of Thulin as an adventuress who robbed her (Egger) of her inheritance. Actually Thulin is nice enough to share her house with Egger. Schell sees the set-up as a golden opportunity. He woos Thulin, and marries her, much to the suspicions of her close friend. In the meantime he keeps Egger under control, because she is capable of giving him information useful for his future plans. And when she is no longer useful, but increasingly a romantic problem - she is suddenly found dead in an "accident". This effects Thulin, who is always just on the borderline because of her war experiences. Schell shows concern...he openly worries about possible suicidal tendencies. And then he sets his final plans into operation. And at that point, I will leave the plot line for the reader to seek out and see the film. It turns out (I won't say how) Schell does not really count on the close friend affecting his plans. And that was the final reason I enjoyed the film. I have always been a fan of Herbert Lom. Ever since I saw him in THE LADYKILLERS, GAMBIT, A SHOT IN THE DARK (and the other "Pink Panther" films he popped up in), I have enjoyed his menace, his mania, and his remarkable acting skills. Except for GAMBIT (perhaps - in one scene he briefly shows menace), Lom usually played dangerous men to cross. In this film he finally played a decent guy. I can only say that it's a good thing that he's there at the end, literally, to help pick up the pieces.