Reception
By modern standards, the depiction of Canadians in 49th Parallel is stereotypical: brave Mounties; decorated Indians; Scottish-accented Hudson's Bay Company men; overwrought French-Canadians, including Olivier's often-criticized accent. However, Pressburger deliberately used the peaceful diversity of Canada to contrast with the fanatical world view of the Nazis. This world view was also played up to frighten American audiences in an attempt to bring America into the war. However, its inclusion of Nazis as leading characters at all, and its criticism of them in spiritual terms rather than straightforward demonisation, are highly unusual for a British Second World War propaganda film. Powell and Pressburger would return to similar themes in the more controversial The Life and Death of Colonel Blimp and A Canterbury Tale.
Critical reviews of 49th Parallel were generally favourable, with The New York Times reviewer effusing, "Tense action... excellent performances. An absorbing and exciting film!" and Variety concluding: "This is an important and effective film. Opening scenes promise much, and it lives up to expectations. Every part, to the smallest bits, is magnificently played..."
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Famous quotes containing the word reception:
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
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