The Odessa File (1974) User Reviews

Intriguing and tense movie full of suspense from the beginning to the end

[ma-cortes · 7/10 · 31 August 2010]

Good and exciting film plenty of tension , action and entertainment . This intelligent picture is packed with historic events , tension , hectic intrigue and the suspense is maintained throughout . The deeds of the movie start in Hamburg, 1963 . An elderly Jewish commits suicide , leaving a newspaper that falls into the hands of an attractive and intrepid journalist named Peter Miller (John Voight). The German Peter goes to a Nazi convention celebrating the ¨Division Siegfried¨ where is detained. After that, he discovers a secret organization named Odessa that may expose some former Nazis and the unthinkable crimes of cruelty , torture and mass murder carried out by the captain of the SS Eduard Roschmann , commandant of the notorious extermination camp in Riga (Latvia). It seems that Roschmann (Maximiliam Schell) survived the defeat of the Nazis, and that lives in some place of South America under a fake identity . Miller starts then a relentless pursuit , decided to meet him . The journalist isn't alone, as he collaborates with the famous Nazis hunter Simon Wiesenthal ; in addition to receive precious aid by the Secret Service agents (Peter Jeffreys) of Israel , the Mossad , that try to avoid some rockets full of biological virus to be taken by Nasser , President of Egypt .

Excellent film based on one the first successes of famous novelist Frederick Forsyth , a bestselling author . This stirring picture is full of suspense , tension , thrills and is very entertaining . The film's intrigue snowballs toward an exciting final. Extraordinary casting , all of whom give admirable acting as starring Jon Voight ("Midnight Cowboy") who plays perfectly as dynamic journalist ; brilliant the British Derek Jacobi , the German Klaus Lowitsch , and of course the Maximilian Schell's interpretation who steals the show as haughty Nazi.

We see this sensational film not only by its action and intrigue but also by the historical deeds that are well depicted and related to Simon Wiesenthal and concentration camps as Riga and Flossenburg where was executed Admiral Canaris . Even only for that reason the film worthwhile seeing . Spectacular musical score fitting to action by nowadays very famous Andrew Lloyd Weber , including a lively and jolly Christmas song at the main and ending titles . Furthermore , colorful and atmospheric cinematography by classic cameraman Oswald Morris .

The motion picture is compellingly directed by Ronald Neame . Ronald's smoothly persuasive direction attracted reception by the public and was a success at the box office . Neame was one of Britain's best cameraman in the 1930s and 40s, working for David Lean, later he turned to direction in 1947 with 'Take my life'. His biggest hits was undoubtedly 'The Poseidon adventure' , 'Scrooge' , Gambit' , 'The prime of Miss Jean Brodie' , and 'Odessa file' . Rating: Splendid and excellent, above average .

Marred only by one thing

[pamsfriend · 8/10 · 11 August 2007]

Sometime between 1979 and today, filmmakers have lost the ability to tell a suspenseful story, to flesh out characters, so that today we see more style than substance, more gore and mayhem than plot development.

The Day of the Jackal, Marathon Man, Eye of the Needle, The Boys From Brazil and others will be labeled boring by many here because they must wait for something to happen. A typical example from Odessa is the reunion scene. Voight infiltrates the meeting of old German soldiers, make that old devoted Nazis, gathering in a beer hall. He snaps a photo of the speaker, shouting what sounds like the words of the pre-war Deutschland uber Alles. One man comes and begins his eviction from the hall. In the next scene we see him nursing his wounds, which are far more serious than the pushes we see. Tell me that today we would not witness a brutal beating punch by punch, kick by kick.

Films then used violence to advance the plot, such as the "Is it safe?" interrogation in Marathon Man. Seventies films are no shorter than today's masterpieces, but so much more intricate plot is compressed into their time frame.

Three Days of the Jackal is a perfect telling of a Forsyth book; we never become involved with the characters but watch in fascination. Here we follow Miller (Voight) giving us a horse in the race. I have reservations about the final confrontation with Schell and Miller's motivations but I have none about the story in general.

Only in the score does Odessa fall short; the music sounds almost if it was added as an afterthought and does nothing to enhance moods or foreshadow scenes. Worse, the score seems the beginning of a pattern that continues to this day where in some scenes the music is the main character. Only the bier-hall singing of the old Nazis sounds appropriate.

I rated the film 8 of 10.

" One nation, one people, one leader!"

[dgrahamwatson · 8/10 · 16 January 2007]

You could do a lot of worse things than spend two hours indulging in the ODESSA file. This 1974 production was the second of Frederick Forsyth's trilogy of books that were put onto the big screen in the 70's. Although made in1974 the events meant to be are depicted are supposed to be about 10 years earlier. ODESSA was an organization created by Nazis to help former high profile Germans and members of the SS escape accountability after Germany's defeat in WW II. You would be given false papers, new identities, passports etc and many of them made their way to South America . The most popular destination was Argentina, whose Peronist regime made no secret of it's admiration for Hitler and the Nazi way of thinking. (This only made Argentina's defeat at the hands of the British in the 1982 Falklands war that much more satisfying)! It's a docu/thriller movie lead by actor John Voight who had been elevated to stardom by "Midnight Cowboy" and "Deliverance". He plays Peter Miller a struggling Journalist who was looking to land the big story and is financially supported by his girlfriend Sigi who works at one of Hamburg's nightspots.

After a routine check on a story of a suicide he is given a diary and documents from the deceased who as it turns out was survivor of a Nazi concentration camp. He takes his own life after seeing one of his former tormentors Eduard Roschmann a former camp commandant swanking it up in and exclusive restaurant in Hamburg without a care in the world. What drives him over the top is when he reports this he finds little sympathy from the West German authorities who seem either indifferent and try to fob him off.

After reading an horrific and graphic account of the mans experience at the hands Roschmann, a sickened Muller embarks on his own investigation. He soon discovers the real motives for the ODESSA organization and delves further into this only to the disdain of friends and loved ones who fear for his safety. Soon he also gains the attention of members of the ODESSA organization who don't approve of his meddling. He manages to sneak into a reunion for former soldiers from a crack Panzer division, but unfortunately draws attention to himself. The beating that is handed out as well as an attempt on his life only emboldens him to carry on now knowing he is on to something? He also arouses the attention from members of MOSAD Israels equivalent of the CIA, whose job is to track down former Nazis and dispose of them. After satisfying the Israels that he is not a Nazi, they help him try to infiltrate ODESSA under an alias so he can track down Roschman who by this time he has is own personal score to settle. While reading the former survivors account it appears Roschman may have had something to do with his fathers death who at the time was a decorated soldier in the German army during WWII.

So it's off to the races, can Muller get to Roschmann and find out who else is in ODESSA's secret file before they get to him! You get the impression that this was inspired by the capture of Eichmann and the wish to track down Joseph Mengelie a notorious Nazi physician. It's important that in the 1960's and even 70's many former Germans from WWII were still alive at this time and many of them not only escaped justice but managed to wrangle cushy numbers in business, industry and even in government under new identities. How widespread this really was I'm not sure, I suppose many lower level Nazi party members did manage to start up their careers again although those who committed the real acts were probably better off trying to get out of the country, where I suppose ODESSA came in, a sort of "club south America" for Germans wanting to get away from it all.

The scene in the beer hall during the reunion is a real party piece. Still reveling in nostalgia about the glory days where Germany was feared and respected as they swept all before them, the frenzied gathering is finishes off by singing a rousing rendition of one of the German army's marching songs. In another scene when Muller visits Simon Weisentile (a well known Nazi hunter who made it his life's work to bring them to justice), he tells Muller that money was not a problem for ODESSA. Under the streets of Zurich were paved with gold, presumably gold and other stuff that was looted by the Germans from their Jewish victims, how ironic! Over all not bad movie , Voight was convincing as a German being blond and blue eyed and Maximilian Schell delivers a powerful performance as the arrogant and sadistic butcher Roschmann. It's certainly worth a watch!

effective thriller

[secretron · 7/10 · 15 September 2001]

Just a sad reminder of how gripping thrillers were a dime-a-dozen in the 70's, as compared to the suspense-bankrupt modern day. 2 hours of entertainment & not one single explosion!! Jon Voigt once again establishes himself as one of the best actors of the decade in his principal role as the tenacious journalist bent on revenge. The film & its subject matter could have easily been more confusing, and tho some scenes defy logic (a supposedly lethal hit man is reduced to dunderhead status in the film's pivotal fight scene), the story steams ahead fluidly til the climactic denoument. This is Voigt's movie, but the supporting cast is effective in small roles, especially Maximillian Schell in his few scenes & Mary Tamm, as Voigt's along-for-the-ride girlfriend who also happens to be very easy on the eyes. And look, there's Derek Jacobi, long before he met Kenneth Branagh, in a tiny, yet pivotal role! Forge, Derek, forge!! Not as good as "The Conversation" but infinitely better than any movie starring Sharon Stone or Steven Seagal (or both). 7 out of 10.

Scooping The Fourth Reich

[slokes · 6/10 · 27 January 2006]

Woodward and Bernstein may have been intrepid, but they have nothing on Peter Miller, a freelance reporter who goes underground to reveal Nazis working in postwar West Germany to destroy Israel, circa early 1964.

Okay, Miller isn't real, but rather a character in Frederick Forsyth's novel "The Odessa File" brought to screen in 1974 with Jon Voight in the role of Miller. Not to be confused with the later, weaker Nazi-hunting potboiler "Boys From Brazil" (though the real-life Nazi hunter Simon Wiesenthal is a character in both), "Odessa File" benefits from a very involving opening and a clever, cathartic twist of a closer, though the two-plus-hour film gets soggier than sauerkraut much of the time in between.

Are we speaking German in this movie, or English? Director Ronald Neame can't seem to make up his mind, and it's a bit disconcerting to hear an old German army vet give a speech in accented English before his comrades break into a Teutonic sing-along. Voight often seems lost in a film where he is bounced around like a pinball, his gaze like that of a deer in the headlights, albeit a righteous deer. A lot of the actors around him similarly feel unmotivated, even the great Maximilian Schell who plays Miller's chief prey, a former camp commandant named Eduard Roschmann. Efficient though Roschmann may be, there are some gaping holes in the Nazi secondary Miller more stumbles through than exploits.

"The Odessa File" also has one of the oddest movie scores, fronted by a credit theme which, as all taut thrillers must, features Perry Como and a children's Christmas chorus. I kid you not. The incidental music is electronically processed '70s drivel that seems more suited for "Logan's Run," and was the brainchild of none other than Andrew Lloyd Webber, apparently wanting to try something different while waiting for inspiration for another libretto to strike then-partner Tim Rice.

But the film does deliver in the suspense department, setting up a nicely paranoid atmosphere wherein the sweet woman sent by the police to look after your girlfriend could be a spy helping a team of killers track you down. It may oversell the reach of the real ODESSA, a Nazi relocation group, in West Germany, but the screen treatment is at times quite gripping and believable, and of course features Nazis as bad guys, which seldom fails for entertainment.

You understand a bit of the mania behind Miller's actions, if not exactly his methods, when you see in flashback the way Roschmann handles his captives at Riga. Even after "Schindler's List" and other films have presented the same material in more graphic fashion, there's a lot of power in the scene of a woman looking at her husband before the door of a deadly truck closes over her face, or a moment when Roschmann toys with a man awaiting execution for a giggle.

If it's not as good as Forsyth's book, the film suffers from the same faults. The improbability of the scenes grows more apparent with repeat viewings, but a first-timer will likely be too involved much of the time to pay this much mind. And, like the novel, "Odessa File" the movie has a good heart. And what an ending! Don't let anyone spoil that for you, if you are the least bit tempted about seeing this; see it for yourself.

The Odessa File Review.

[Ben-Hibburd · 7/10 · 20 July 2017]

After the suicide of an elderly Jewish man, journalist Peter Miller (Jon Voight) discovers the mans journal detailing his account of witnessing former SS captain Eduard Roschmann (Maximilian Schell) at an opera three weeks prior to his suicide. Roschmann was the commandant of Riga concentration camp where was held captive at during WWII.

As Miller begins to investigate the sighting of Roschermann, he stumbles across Odessa, a group made up of former SS officers. They have fled Nazi Germany during the tail end of the war, but who are still committed to the cause. They have deep Influences in all aspects of government including the police across many countries. This leads Miller down a treacherous rabbit hole of dark alleyways, untrustworthy informants and suspicious men in fedoras following him in the dead of night, as he gets closer to discovering their ultimate plot.

Jon Voight turns in a good performance as Peter Miller, a man who's on a singular mission of justice, whether it costs him his life or not. Voight brings a-lot of credibility to the film, the scenes in which he has to portray emotional weight feel sincere. Maximilian Schell also gives a terrific performance in his portrayal of the malevolent, fiendish SS captain.

The Odessa File is directed by Ronald Neame, the film is well shot and edited. It deals with real world atrocities, that have been mixed/adapted with different names/places for the most part. It's an effective political thriller, the film manages to keep it's plot constantly moving and involving, even if at times it feels like it's treating its subject matter a bit too safe. The film doesn't have too many memorable moments or scenes to make itself standout in a time where political thrillers were dominant during the 1970s. It doesn't have the same ferocious impact as a film like Marathon Man. The Odessa File falls slightly short of the heights of the best political thrillers of the 1970s. It still is an Interesting film, and one that deserves to be discovered again.

Terrific story and cast - a classic

[phd_travel · 10/10 · 5 November 2012]

This thriller should go down as a classic. It has a convincing story a rare thing in movies that try to blend historical fact and fiction. It's tense from beginning to end and doesn't have annoying red herrings or plot twists.

The casting is perfect. Maximillian Schell is ideal as the Nazi war criminal. Jon Voight is surprisingly convincing as a German accent and all. Good use of European supporting cast to avoid a fake feel.

Good on location feel to it. Liked the evocative score too.

It's one of the best thrillers about WWII subject matter even though it is set after the war.

very good but could have been better

[planktonrules · 7/10 · 17 July 2005]

The premise for the movie is excellent--there is an organization called "ODESSA" that helps ex-Nazis change their identities to avoid prosecution. Jon Voight is a reporter who stumbles upon this organization and infiltrates it with the help of the Mossad (Isreali secret service). Eventually, he unravels the key to destroying Odessa (about 80% into the movie) and from that point on, the movie takes a bit of a wrong turn. Instead of going to the proper authorities to get help, he goes off on his own to confront one particular Nazi. This didn't make sense until he explains WHY he did this. The explanation made some sense but seemed so incredibly improbable that it helped undermine an otherwise excellent movie. I hate plot holes or amazingly improbable coincidences in movies.

Excellent climax to the film.

[hedgehog-10 · 9/10 · 22 January 1999]

Although it deviates from the excellent book's plot, The Odessa File is, in my opinion, Jon Voight's best performance. A good script is handled very well by the actors. Like all Frederick Forsyth's books, the film conveys the possibility that all the events in the film were completely accurate to real events. The ending of the film, when we find out the reason for Jon Voight's character tracking down the former Nazi, is a superb moment of suspense.

The film brings the -60s in Germany to life

[I.K · 7/10 · 23 November 2000]

Brilliant casting, setting and directing creates a very interesting story and gives a unique look to the 1960s Germany. Watch out especially for Voight who gives his best performance so far. Max Schell is equally good as the sinister war criminal Roschmann (based on a real character) unfortunately Frau Miller and Roschmann never meet during the film, it would have been interesting to see Max Schell and his sister Maria Schell exchange a few dialogues.

engrossing, suspenseful drama

[blanche-2 · 8/10 · 25 July 2005]

Jon Voight does an excellent job in this intriguing film about a reporter searching for a war criminal who escaped Germany after World War II with the help of an organization called Odessa. His investigation leads him to Simon Wiesenthal and to a group of Israelis who train him to infiltrate Odessa. The historical setting is 1963 Germany, at the time of the Kennedy assassination This is a very suspenseful film with wonderful performances from the supporting cast as well: Mary Tamm, Maximillian Schell, Maria Schell, and Derek Jacoby.

For me, The Odessa File has always had an old-fashioned feeling to it -it was made in 1974, set in 1963, and almost seems like it could have been made in the '40s. Truly an excellent film.

As a bit of trivia no doubt already mentioned, Andrew Lloyd Webber wrote the music for the film, which I frankly found rather intrusive.

All good things come to those who wait

[happiscotsman · 6/10 · 1 April 2003]

I rented this movie from my school library having little idea what it was about. I hadn't read the novel (still haven't) but I was intrigued at the idea of Jon Voight doing a thriller. I must warn you, the first thirty minutes or so move V-E-R-Y-S-L-O-W-L-Y, but be patient. After Voight meets up with his unforeseen allies (is that considered a spoiler?), the pacing begins to pick up. Great plot, great twist, and of course great acting by Voight add up to a top-notch thriller. I can say that because the two ending action scenes really do a great job of keeping you on the edge of your seat. Instead of just having characters blast away at each other with guns immediately, there is an admirable effort to build up the suspense. Check this one out! Also, is it my imagination or does Jon Voight look exactly like his character in "Enemy of the State" at one point in the movie?

The plot is tucked in there, but the director wasn't up to it

[vostf · 4/10 · 5 January 2012]

The book was a suspenseful investigation by journalist Peter Miller, and its specific pace was a real challenge to adapt into a 2-hour movie.

The biggest challenge of all lied with the basis of the investigation: the diary of a Jewish inmate describing SS Captain Eduard Roschmann's war crimes in Riga. The extended version of it in the book sets a powerful back-story that fleshes up the investigation right from the start. However, despite the detailed horror, you can guess Miller's true motive in the book. In the movie the diary is roughly edited into a quick flashback, a caricature of what was supposed to be a powerful testimony. B&W images of Nazis and Jews in Riga are too sharp and clean, the prisoners themselves are clean and never seem to be starving, the horror, the true agony of men and women (no children on screen) treated as unworthy cattle is missing from every frame.

Thus the adaptation misses the point of the book: an investigation building up from the diary. The director rushes a lot in the flashback and the next few steps, as a result suspense does not have time to settle in since we're thrown into a conspiracy action shuffling pace. The investigation looks like an easy game, only bumping into the ubiquitous SS manpower.

So the two big flaws that make The Odessa File a mediocre movie are:

• a poor adaptation missing the point of suspense building up as the investigation gains momentum;

• the shortcuts in the seminal flashback and in the ODESSA premise summed up as a gigantic SS conspiracy pulling the strings behind every German administration (in 1963).

One good point though, the disturbing clumsiness of Peter Miller as his investigation gets more and more dangerous, in the book, has been properly dealt with. But as in the book Peter Miller is a rather bland character. His stubbornness doesn't help to make him interesting as he does his job.

An Apex of 1970's film-making

[raysond · 3 July 2006]

The year was 1974. By this time of the 70's,Jon Voight was riding high with two very brilliant commercially released films of that year...In director Martin Ritt's "Conrack",he portrayed a school teacher who is sent to the Gullah regions of Georgia and South Carolina to teach a handful of children that nobody wanted and eventually took over and taught them the ways of life and about each other. That film brought him an Oscar-nomination and Best Director category for Martin Ritt. That same year,he also starred in a adaptation of Agatha Christie's "Murder On The Bridge",with an all star British cast that included Sean Connery and Micheal Caine along with Ralph Richardson.

When Jon Voight's next theatrical feature,"The Odessa File",based on the novel by Frederick Forsyth was released the same year,it really didn't do much for his career as well. In fact with the exception for early 1975's "End Of The Game",before he completely vanished from Hollywood for two years,until his brilliant portrayal of an Vietnam Veteran won him the Oscar for best Actor for 1978's "Coming Home",which starred Jane Fonda and was directed by Hal Ashby(of "Harold and Maude",and "Shampoo" fame),and another Oscar nomination for 1979's heartbreaking drama "The Champ" which starred Ricky Schroder and Faye Dunaway.

In "The Odessa File",Frederick Forsyth wrote the best-selling novel(about a 1963 Nazi conspiracy in Hamburg)that inspired it and Ronald Neame("The Poseidon Adventure")directed it with his brilliant melodramatic style. Basically every "cliche" you can possibly imagine is recycled here in this top notch thriller that keeps you on the edge of your seat and on the brink of suspense as well. This is a grand example of brilliant film-making from the 1970's and the apex of what the cinema is to come. Jon Voight's character is caught up within a conspiracy between himself and evil Nazis who escaped justice to form and underground of their own. And with the obligatory sequence when come psycho Nazi screams about ruling the world is enough,but the rest of the film is classic suspense at its finest hour. The film itself is grand,but watching Maria Schell going through the motions is one of the tragic consequences that occurred within the film's running time of 128 minutes. The final showdown between Jon Voight and Maximillian Schell is worth viewing.

Fugitive Nazi Thriller.

[AaronCapenBanner · 7/10 · 14 September 2013]

Based on Fredrick Forsyth's novel, and well directed by Ronald Neame, this thriller stars Jon Voight as journalist Peter Miller, who, after reading the diary of a suicide victim, learns of a recent sighting of a fugitive S.S. death camp commander(played by Maximilian Schell) so works with an underground Israeli group to infiltrate Odessa, a group comprised of fugitive Nazis, dedicated to aiding them evade authorities and set them up financially. He succeeds in joining the group, but we later learn that Peter has an ulterior motive in his mission... Future "Doctor Who" companion Mary Tamm plays his girlfriend Sigi, who supports him all she can, even at risk of her own life.

Another smart and engrossing thriller from a Forsyth novel is also well acted and exciting, leading to a good climax. A bit incredible at times, but entertaining.

Jon Voight hunts for a war criminal in exciting espionage thriller...

[Doylenf · 7/10 · 28 January 2011]

THE ODESSA FILE is filmed in authentic European locations which give the story an added touch of realism, the kind needed in this sort of espionage thriller. JON VOIGHT does an excellent job of portraying a journalist who comes across a journal vividly describing what happened at a Nazi internment camp during the last days of WWII. He decides to go on a personal hunt for the much hated man he believes caused the death of some 80,000 Jews (MAXIMILIAN SCHELL). In doing so, he also reveals another purpose that will come as a surprise at the story's conclusion.

But first he searches for "The Odessa File," full of documents on a band of former SS German soldiers who are now operating a secret society of former war criminals who still hold firmly to their former beliefs. The plot thickens once he begins to tackle the assignment, pitted against members who want him out of the way lest their true identities be revealed.

Not quite as brilliant as THE DAY OF THE JACKAL, it's a Frederick Forsyth thriller that deserves the attention of anyone looking for an intelligent, well-paced thriller that benefits from excellent cinematography and a good background score with some music courtesy of Andrew Lloyd Webber long before his big show biz fame.

The action scenes are handled for maximum effect and the final confrontation between Voigt and Schell makes for a satisfying climax.

Good thriller although a bit reliant on coincidences

[jamesrupert2014 · 7/10 · 20 December 2018]

Jon Voigt is Peter Miller, a freelance journalist who ends up on the trail of former concentration camp kommandant Eduard Roschmann (Maximilian Schell) in 1963 Germany. Roschmann and other war criminals are aided and protected by ODESSA, a shadowy organisation of former SS officers. By modern standards the 'action' is a bit slow but otherwise the film is an entertaining, if somewhat implausible, thriller. The movie simplifies Forsyth's novel and the plot is somewhat reliant on coincidences (especially the personal reason for Miller's obsession with Roschmann). Voigt is pretty good as the dogged reporter, although the plot requires him to be 'aged', which isn't very convincing. Schell is fine as Miller's quarry but I found his character in the flashback scenes at the Riga Concentration Camp a bit clichéd. The rest of the cast is serviceable and the German settings are good (although there are anachronisms). The score is by Broadway impresarios Webber and Rice yet sounds like typical '70s thriller music, which dates the film somewhat. All in all, not too bad. The film opens with a statement from Forsyth about the factual existence of ODESSA; however, I don't think that there is any real evidence that such an organization actually existed.

A gripping thriller

[Tweekums · 8/10 · 17 May 2012]

This thriller opens in 1963 with a brief prologue where we see Israeli intelligence officers discussing an Egyptian plan to launch a biochemical attack on Israel; the only thing the Egyptians require is a missile component being made in West Germany. The action then moves to West Germany where Peter Miller, a freelance reporter with an eye for a story, follows an ambulance only to discover it was just going to an old man who had committed suicide. The next day the investigating police officer gives Peter the old man's dairy thinking it might make a human interest story... it does far more than that though; it tells of how he had survived Riga concentration camp where he'd seen his wife killed at the orders of camp commandant Eduard Roschmann, the dairy goes on to allege that Roschmann is still alive having been given a new identity by an organisation known as ODESSA. Having read the dairy Miller is determined to find Roschmann and expose ODESSA; it soon becomes clear it reaches deep into the West German state and it isn't long before an attempt is made on his life. With few clues in Germany he heads to Vienna to see Nazi hunter Simon Wiesenthal; not long after that he is approached by Israeli intelligence; they have a plan to send him undercover into ODESSA; a dangerous task where exposure could mean death but success could destroy ODESSA.

Most thrillers seem to be packed with action however this one keeps things tense with a feeling of almost constant danger; this means when the few action scenes do come they feel more intense. Jon Voight does a fine job as protagonist Peter Miller; it was good to have a thriller about Nazis where the hero is German; even if he isn't played by one! Maximilian Schell only has a fairly small role as Roschmann but he makes the character quite chilling due to the way he first denies having anything to do with the slaughter in Riga, then making out that it was nothing important then finally boasting of the greatness of the SS. The story is well told and kept me gripped from the moment we learnt the contents of the old man's dairy... just the time Miller got gripped by the story too! If there is a flaw it was the suddenness of the end and the way he managed to find Roschmann alone in a castle; still the story demanded that they be alone together for their final talk so that improbability can be forgiven. Overall this is definitely worth watching if you like your thrillers tense and don't demand nonstop action and special effects.

Verbose thriller, highly recommended to viewers who like this kind of thing.

[barnabyrudge · 7/10 · 19 January 2004]

What with 1966's The Quiller Memorandum, 1970's The Kremlin Letter, and 1972's The Salzburg Connection, it was only a matter of time before a film came along with "The something-or-other File" for its title. The Odessa File duly obliged, a 1974 Ronald Neame-directed thriller, based on a powerful bestseller by Frederick Forsyth. At 123 minutes or thereabouts, the film is decidedly a bit overlong but it still has its share of tauts moments, and a particularly horrible villain in the shape of Maximilian Schell, to help the time along.

Young German reporter Peter Miller (Voight) is given the memoirs of a Jewish suicide victim. He takes the memoirs home and reads them. What he comes across is a terrifying and thoroughly disturbing account of the conditions and dangers faced by prisoners in a Nazi concentration camp. Contained within the memoirs are descriptions of outrageous atrocities committed by the psychotic camp commandant Eduard "The Butcher" Roschmann (Schell). Traumatically affected by what he has read, Peter goes undercover in an attempt to find The Butcher, but he must first find a way of infiltrating the ultra-secret Neo-Nazi organisation "Odessa" in order to pinpoint the whereabouts of his despicable quarry.

The black-and-white sequences set during the war years and detailing Roschmann's appalling actions are powerful and provocative indeed. Other outstanding sequences include Voight's nerve-wracking cross interrogation at the hands of Noel Willman; an attempt on Voight's life in which he is pushed onto a train-track; a splendid tussle on a glass roof-top; and the electrifying final confrontation between Peter and The Butcher. In between these superb moments, the film all too often slows down to a crawl and in parts it gets mighty verbose too. Nowadays, the film might also appear dated (it is very much shot in the tried-and-trusted style of other '60s and '70s espionage thrillers). However, if these are the kind of movies you like you'll definitely like this one!

" Peoples are not evil, . . .only Individuals are evil "

[thinker1691 · 8/10 · 26 May 2011]

From the skillful and adroit hand of master novelist Frederick Forsythe comes this suspenseful story which begins in the wet streets of Berlin and traces itself to a WW II concentration camp called Riga. The movie is called " The Odessa File " and is based on the secret organization which helps ex-Nazis escape justice. Jon Voight plays Peter Miller a young German journalist who is intrigued by the diary of a survivor of the Riga death camp and left a journal identifying the 'Butcher' of Riga. With that diary, Miller decides to investigate if in fact Eduard Roschmann (Maximilian Schell) is still at large. Endangering his life and that of his girlfriend, Miller learns that Mossad, the Israeli Intelligence arm is also trying to locate the source of a electrical missile guidance system threatening Israel. With the help of Simon Wiesenthal (Shmuel Rodensky) and Mossad, Miller infiltrates the Oddessa organization and soon discovers Klaus Wenzer (Derek Jacobi) the man behind the false identifications given to escaping Nazis. However, Oddessa agents also discover who Miller really is and send their own men to dispose of him. The film is filled with intrigue, dark drama and tingling suspense and with Voight at the helm, this movie will soon join only the best which have all become Classics. ****

Good thriller-who-done-it! and a Perry Como!

[teleadm-persson · 7/10 · 5 August 2005]

I remember the poster Jon Voight on the tracks and a train gonna run him over! I also remember this was one of those sure movies that always came around during the summer or winter times, long before blockbuster movies! Objection now-days would off-course be that! all Germans speaks English with an accent. Around when this film came it was still common that all German's spoke English with a German accent.

This is not an explosion filled thriller! This is more a step by step "What will come next" thriller.

And Perry Como!!!! yes he plays the arian Nazi camp executioner!!!No only kidding he sings via a car radio in the early scenes, before the story begins!

Nasty Nazis are just beneath the surface

[headmaster-1 · 9/10 · 28 September 2005]

A great story, which combines twisted plots, chase scenes and the deadly combination of history and the present. One is utterly compelled to wonder exactly how fictional this story is, and also how such an organisation could operate beneath the veneer of respectability. There is no doubt that the motives of all the chief characters are distinct, and the plot forces one to watch as Muller tries to break into the seemingly impenetrable organisation. His journey to find the answers he is looking for, and all due to stopping on the side of the road for a couple of minutes to listen to the radio makes one also wonder what else is out there that should be revealed, but due to cover ups and apathy hasn't been!

starts great then turns rather predictable

[SnoopyStyle · 7/10 · 6 January 2015]

It's 1963. Israel knows that the Egytians are trying to perfect their biochemical rockets with a guidance system being built in Germany. Peter Miller (Jon Voight) is a reporter who becomes interested in the suicide of a Jewish Holocaust survivor. He leaves behind a diary detailing the crimes of the camp SS commander Eduard Roschmann (Maximilian Schell). Peter discovers an underground network of sympathizers called Odessa hiding SS men. He is soon hunted by the organization while Israeli agents recruit him to infiltrate Odessa.

Initially, this is a fascinating thriller. It has Nazis. It has international intrigue. It does drag a little in the middle since most of the information is already laid out. It makes the movie rather straight forward. There is a great reveal at the end. It may be worthwhile to add more along that line earlier in the movie. The movie needs something to spice up the middle.

Careful, occasionally suspenseful drama

[moonspinner55 · 5/10 · 17 July 2005]

Adaptation of Frederick Forsyth's bestseller has German journalist in 1964 aware of Nazi war criminals still living, plotting to find and kill one in particular--not only out of revenge for the Jews he murdered, but also for one particular killing that resonates with him personally. Carefully-paced and plotted film has a lot of talk from incidental characters who don't amount to much; however, the central idea is still very intriguing. The film is far-fetched in places (watch out for the scene where Jon Voight easily infiltrates the castle where Nazi Maximilian Schell resides), yet it has suspenseful passages. Voight isn't particularly well-cast in the lead (he's doesn't look or sound German, and he seems too young for this role), but he displays his usual innate sensitivity. Schell is strong in a taut sequence near the finish, although the set-up for this is an old movie stand-by: keep the captor talking long enough so that he can save himself. The tag at the end is bungled by director Ronald Neame, which leaves a hollow feeling in the picture's wake.