Modern audiences will likely view The Red Danube as little more than an anti-communist film, but it actually had somewhat loftier intentions. Sure, it was intent on demonstrating that there's a big difference between red and red, white blue, but it also attempted to explore, however slightly, the role that Allied acquiescence played in the post-War repatriation of Soviet refugees. In addition, Danube spends an inordinate amount of time discussing the pros and cons of theism. So Danube is perhaps better intentioned than some might give it credit for -- but it also must be admitted that those intentions do not add up to a good film. Danube is an excessively talky film, which fact by itself would not be a problem if the talk were more interesting, entertaining or just plain involving. But it's dry and academic, and it often brings the movie to a dead halt, no matter which side of the debate one is on. George Sidney's laconic direction does not help matters, nor does Peter Lawford's wooden performance. Walter Pidgeon and Ethel Barrymore do much better, especially considering that they must handle all of the God vs. atheism duels. But only Janet Leigh and Angela Lansbury truly rise above the material, turning in solid performances that go a long way to keeping one's interest in Danube.