Spymistress: The Life of Vera Atkins, the Greatest Female Secret Agent of World War II by William StevensonA rousing tale of espionage and unsung valor, this is the captivating true story of Vera Atkins, Great Britains spymistress from the age of 25. With her fierce intelligence, blunt manner, personal courage, and exceptional informants, Vera ran countless missions throughout the 1930s. After rising to the leadership echelon in the Special Operations Executive (SOE), a covert intelligence agency formed by Winston Churchill, she became head of a clandestine army in World War II. Her team went deep behind enemy lines, linked up with resistance fighters, destroyed vital targets, helped Allied pilots escape capture, assassinated German soldiers, and radioed information back to London. As the biographer of her mentor in the SOE, William Stevenson was the only person Vera Atkins trusted to record her story.
Human Trafficking (2005) full movie
Les Femmes De L'Ombre (Female Agents)
If you're looking for a movie about pretty French girls who like to kill Nazis - and let's face it, who isn't? The publicity stresses that it is based on "true events, true stories and real heroines". Actually what that means is that small parts of it are inspired by fact; the rest is made up to feed the never-ending French desire for flattering stories about what they did in the war yes, the one where Philippe Petain gave Hitler control of two-thirds of the country, while he ran the puppet Vichy regime in the rest. This flattery is not a trait simply of the French; pretty much every country, even Germany, has preferred to make films about the deeds of its heroes, rather than the traitors, butchers and collaborators. The exceptions make up many of the greatest war movies - the fearless ones, such as Kubrick's Paths Of Glory , or Lewis Milestone's All Quiet On The Western Front - but most filmmakers still look for heroes and honour in war, which is odd, given what war is usually like.
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But it was the Germans who first gave this instruction to French film-makers when they occupied France in The complex French experience of the Occupation, the myths, realities and misrepresentations of collaboration and resistance, was a touchy subject. These films were made by people who lived through the war. They had personal knowledge of the guilt and troubled memories. The film contains a succession of exciting, well-staged action sequences, starting with a night-time shoot-out in early in the marshalling yards in Brest, with considerable loss of life, some due to ace sniper Louise Desfontaine the fetching Sophie Marceau , who sees her husband, head of the group, killed before her eyes. This is followed by the opening credits, a black-and-white montage of war photographs depicting women combatants.