If you were browsing a video store in the eighties or catching a late-night broadcast on some grainy local channel, you probably stumbled upon The Passage 1979. It’s one of those movies that feels like a fever dream. You’ve got a cast that is, frankly, way too good for the material, and a tone that shifts from a standard WWII escape thriller to something bordering on a slasher flick.
It’s weird. It’s violent. Honestly, it’s kind of a mess, but it’s a fascinating one.
Directed by J. Lee Thompson—the same guy who gave us the absolute masterpiece The Guns of Navarone—this film tries to capture that same lightning in a bottle. It doesn't quite get there. Instead, it lands in this strange sub-genre of "grindhouse prestige." You have Anthony Quinn, James Mason, and Malcolm McDowell all chewing the scenery in the Pyrenees.
The plot is straightforward enough, at least on paper. During World War II, a Basque shepherd (Quinn) is recruited by the French Resistance to smuggle a scientist (Mason) and his family across the mountains into neutral Spain. The catch? They’re being hunted by a SS officer who is essentially a cartoon villain brought to life.
Why the Cast is the Most Bizarre Part of the Movie
Malcolm McDowell plays Captain Von Berkow. If you thought he was intense in A Clockwork Orange, you haven't seen him here. He is playing a different movie than everyone else. While James Mason is giving a restrained, dignified performance as the terrified Professor Bergson, McDowell is wearing a swastika-covered jockstrap and eating a roast bird like a maniac.
It’s a tonal car crash.
You have the legendary Anthony Quinn playing the "Basque," a role he could do in his sleep by 1979. He’s rugged, he’s stoic, and he looks like he’s actually climbed a mountain or two. Then there’s Christopher Lee. Yes, Dracula himself is in this, playing a small role as a Gypsy leader. Having Lee and Quinn in the same frame should feel like a monumental cinematic event, but The Passage 1979 treats it like just another Tuesday.
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The chemistry is nonexistent because everyone seems to be acting in a vacuum. Mason looks genuinely miserable, which actually helps his character, a man who knows his family is likely going to die in the snow. Quinn just looks tired.
The Pyrenees as a Character
One thing the movie gets right is the scale. They filmed on location in the Pyrenees, and you can tell. The wind is real. The snow is real. The sheer physical exhaustion on the actors’ faces? Probably also real.
In an era before CGI, seeing a group of people actually struggling against a legitimate blizzard adds a layer of tension that modern green-screen movies lack. You feel the cold. When Quinn’s character, the Basque, talks about how the mountains don't care if you're a Nazi or a scientist, the cinematography backs him up. The landscape is indifferent and lethal.
Director J. Lee Thompson was known for his efficiency. He shot this fast. You can see the rough edges, the moments where a second take might have helped the dialogue but would have lost the "magic hour" light. It gives the film a raw, almost documentary-like texture in the wide shots, which then clashes violently with the stylized, gory action sequences.
The Controversy of the Violence
People often forget how nasty this movie is. The Passage 1979 was released during a transition period in cinema. The old Hollywood guard was fading, and the new era of graphic violence was taking over. This film tries to be both.
There is a specific scene involving a finger and a pair of shears that still makes people wince. It’s unnecessarily cruel. Critics at the time, like Roger Ebert, absolutely loathed it. They saw it as a waste of talent. They weren't entirely wrong, but that cruelty is exactly why it has a cult following today. It doesn't play by the rules of a "respectable" war movie.
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It’s mean-spirited.
Von Berkow isn't just a soldier; he’s a psychopath. The movie leans into the "Nazisploitation" tropes that were popular in the late 70s, mixing high-stakes political drama with moments of pure shock value. It’s a polarizing choice. Some viewers find it repulsive; others see it as a realistic (if exaggerated) depiction of the depravity of the SS.
Production Troubles and the 1979 Context
1979 was a weird year for movies. You had Apocalypse Now redefining the war genre and Alien redefining sci-fi. The Passage 1979 felt like an artifact even when it was new. It was produced by Maurice Binder (the guy who did the Bond title sequences) and Lester Goldsmith. They wanted a hit. They didn't get one.
The budget was roughly $20 million, which was a decent chunk of change back then. Despite the star power, the film tanked at the box office. It was too violent for the "Greatest Generation" crowd that loved The Longest Day and too old-fashioned for the kids who wanted Star Wars.
The script was based on the novel Perilous Passage by Bruce Nicolaysen, who also wrote the screenplay. Usually, when the novelist writes the script, you get a very faithful adaptation. Here, it feels like Nicolaysen was trying to out-shock the audience at every turn.
The Legacy of The Passage 1979
Does it hold up? Sorta.
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If you’re a fan of Anthony Quinn, it’s a must-watch just to see him interact with James Mason. Their scenes together are the heart of the film. There’s a quiet respect between the characters that feels earned. The "Basque" isn't a hero in the traditional sense; he’s a man doing a job he hates because it’s the right thing to do.
But the real reason to watch is McDowell. It is one of the most unhinged performances of his career. He is a walking personification of evil, devoid of any redeeming qualities. In a world of nuanced villains, there’s something oddly refreshing about a character who is just purely, unapologetically monstrous.
What Most People Get Wrong
A common misconception is that this is a "true story." It isn't. While the French Resistance certainly used Basque shepherds to smuggle people over the Pyrenees (the "Comète Line" was a very real thing), the specific events and characters in The Passage 1979 are fictional.
Another mistake is classifying it as a "war movie." It’s really a survival thriller set against a war backdrop. The politics are secondary to the physical struggle of moving from Point A to Point B without freezing to death or being executed.
How to Watch It Today
For years, this movie was stuck in "DVD limbo," available only in terrible, cropped transfers. Thankfully, boutique labels like Kino Lorber have given it the Blu-ray treatment. Seeing it in its original 2.35:1 widescreen aspect ratio is a game changer. You can finally see the scope of the mountains and the detail in the (admittedly gruesome) practical effects.
Actionable Insights for Cinephiles:
- Watch for the Tonal Shift: Observe the transition between the first act (procedural thriller) and the final act (survival horror). It’s a masterclass in how not to balance tone, yet it works in a chaotic way.
- Compare to The Guns of Navarone: If you’ve seen J. Lee Thompson’s earlier work, look for the recurring themes of "the impossible mission" and "the reluctant leader." You can see a director grappling with a changing industry.
- Focus on the Sound Design: The howling wind in the mountain scenes was heavily layered in post-production. It’s designed to be abrasive and claustrophobic, mirroring the characters' mental states.
- Study the "Evil Nazi" Archetype: Compare McDowell’s performance to Ralph Fiennes in Schindler's List or Christoph Waltz in Inglourious Basterds. McDowell is much less subtle, representing the 1970s approach to cinematic villainy.
The Passage 1979 isn't a perfect film. It’s messy, occasionally gross, and wildly inconsistent. But it has a soul. It has the grit of 1970s filmmaking and a cast that you simply won't see assembled ever again. If you can stomach the violence, it’s a journey worth taking.
Next time you’re looking for a WWII movie that feels different from the sanitized versions we often see, give this one a look. Just don't expect a comfortable ride.