It gets the high score it deserves for daring to be different in so many ways.Yes, its a POW film. Yes, their trying to escape.So why is it so different?Their jailers are the Italians who we so rarely see in POW films. We have a murder mystery, a Who Done It to solve! We also have a spy in the camp revealing the escape plans to the Italians.It's a pretty good name cast with Richard Todd, Richard Attenborough and William Franklyn as the more notable names.The film looks good, it's well scripted and you have an excellent bad guy in Benucci, the Italian Camp Commander.The great storyline that they find the man they think is the spy dead in a tunnel which totally throws them off starts the who done it. It also stops them thinking about spies until they do reveal who the actual traitor is (I won't spoil that for you).The ending after the escape is a tad weak, I would have liked to have watched more of their escape once they were outside the camp.Overall its a very decent movie for its age. Thumbs up and recommended to those who like their War or POW films.

This is one of my favourite POW films. But in fact 'Danger Within' is not just a POW film as such, it also falls into the Britfilm murder mystery genre.The source for the story is a Michael Gilbert mystery 'Death in Captivity'published in the mid 1950's. It,s a cracking read and compliments the film as some narrative elements had to be changed for filmed purposes. The play within the story is different, and motivation of hero and villain is slightly more efficiently. It also gives you a glimpse into what happened after the mass escape.For the Buff, spot Michael Caines first screen appearance, note the film's technical relationship to 'The League of Gentlemen', made in 1960 and watch the two on the same bill for a rewarding afternoon viewing.To my mind this film also lifted Terrance Alexander from the rather predicable comedy character roles he was playing to top notch light drama actor. And Bernard Lee once again proved how dependable and useful he was in films filled with better known faces.

Although similar but not as good as Stalag 17, this is one of the best British POW movies. The script is fast paced, the cast is excellent, the acting is top draw , without hamming it up. And like Stalag 17 there is a traitor in the camp. The film blends drama with a good whodunit, and throw in the Camp's production of Hamlet as a ploy to enable a mass escape is an absolute joy. Dennis Price, Bernard Lee,Richard Todd, Peter Arne and a who's who of British actor's make this such an enjoyable film. Richard Attenborough's performance as always is superb. I rate this film and recommend it to anyone who enjoys War-Drama movies. Danger Within is being shown on Channel Four on Tuesday afternoon 12th of July, please watch it, if i had a VCR i would record it!. This film deserves a quality DVD release in it's original aspect ratio, so whoever own's the rights please do something about it.

A rare bright spot in a benighted genre, this British POW drama avoids familiarity not only by avoiding stiff upper lip and grey morality in favour of wit, tension and Hollywood stereotype, but also by a clever use of the metaphors of theatre. Most British war films parade their stifling docudrama-style 'realism'; this is often an excuse for imaginative paucity. 'Danger Within' uses the idea of play to question some of the received myths about the British Second World War.Part of the novelty lies in its North Italian setting - we're so used to nefarious Nazis and brutal Japanese. Not that it makes much difference - the main villain, Capitano Benucci, is a Nazi-trained sadist, who imagines he's suavity incarnate with his sophisticated cigars, laidback walk, time goatie, and clipped, ironical speech. But the blanching sun makes a nice change, giving a parched, sandy feel, and the notorious stereotype of Italian incompetence makes the various plot points believable.What makes this narrative absorbing is not the usual will-they-or-won't-they escape plot, but a kind of detective story. No matter how ingenious the efforts of the escape committee - and there is a brilliant one here involving sewers, light-switches, misplaced cigarettes and rugby posts- there is always the same welcoming committee of armed fascists ready to mow them down. It's clear there's an informer, but who?The obvious culprit is a shifty-looking Greek. This is the film's first daring piece of iconoclasm. There is a lot of anti-Italian racism throughout, but that can be attributed to understandable wartime emotionalism, where contempt for what Fascism stands for is expressed in xenophobia. But the Greek's only obvious credentials for being an informer is the fact of being a Greek, a little small, sweaty, oily, you know, naturally sneaky. When his name is called at roll-call, a wit hurls a dead rat at the officer; we remember Nazi anti-Semitic propaganda that used similar analogies.This is a strangely unideological war these men are fighting - there is no rhetoric about liberty and democracy; this is a prison film in which the criminals, all professionals, want to escape. Everything centres on the job in hand, with loyalty vouchsafed for anyone who agrees. This lack of sentimentality is refreshing an a genre stuffed with secular piety.Even better is the working of the theatrical metaphors. The brilliant opening scene features a prisoner disguised as the commandant - their fatal meeting creates a mirror effect that echoes in the following narrative about, not only duplicity, but also people who don't seem to be what they are, including old fops who turn out to be very brave men. Of course, this is a situation where the Law are murderous criminals, and the prisoners are democratic saviours, ambiguous enough in itself. It creates a world where you don't know who to trust, especially dangerous in a situation where loyalty and trust need to be givens. This idea of acting and pretending (extending to the Capitano) culminates in the attempted escape during 'Hamlet', with the immortal Dennis Price in a mop wig as the Prince. It's a shame they couldn't have picked a more apposite play - King Lear, perhaps? - or worked it in better, with a play-within-a-play scene, for instance, to reveal the murderer. But that would have been silly, contrived, arty, and no British war film would ever be that. Michael Wilding is a bizarre sight in this testosterone heavy atmosphere; even more surprising is how excellent he is with his old queen patter and reserves of steel.