Taxi for Tobruk 1961

On Christmas Eve 1941, the film opens by painting a quiet, tense night in which the fates of several characters begin to intertwine. The mood shifts with the onset of war, hinting at the ordeals to come and the ways in which courage, loyalty, and survival will be tested.

Fast-forward to October 1942 in Tobruk, in German-occupied Libya, where a Free French LRDG commando unit has just carried out an attack on a German position. The lieutenant in command is dead, and the four remaining men are left to fend for themselves in a hostile desert. Two of them, Théo Dumas and Jean Ramirez, decide to walk and search for a way out, while the other two, François Gensac and Samuel Goldmann, opt to stay behind, hoping to wait for rescue. The harsh reality of the desert—no food, no water, no working radio—pushes them to split up, each man following his own instinct to survive.

The group that moves forward with purpose stumbles upon fresh tracks and makes a bold decision to ambush a German patrol, killing the four soldiers who stand in their path. In the aftermath they discover a German officer who had escaped the massacre: Le capitaine Ludwig von Stegel. The four French commandos bury the fallen soldiers and then press on toward the British lines, bringing their prisoner along and hoping the encounter might turn the odds in their favor.

The journey grows even tenser as von Stegel warns of soft sands ahead, but the group does not heed the caution and soon finds themselves mired in the desert. Fuel runs out, and their hopes of slipping back to friendly territory slip away as they maneuver toward an approaching enemy convoy to scavenge supplies. In a dramatic moment they slip into the role of captors, leaving the German officer behind as a weapon of leverage, and even in the confusion there is a touch of recognition: Goldmann realizes the prisoner’s identity as they move.

During another tense silt-up, Captain von Stegel seizes control of the vehicle and takes the four Frenchmen back as prisoners toward Tobruk. The balance of power shifts again when Dumas, acting with a stubborn, almost stubbornly principled calm, deliberately causes the vehicle to silt and refuses to free it. A long period of careful observation follows, and the captain, now isolated, finally drifts to sleep, granting the French crew a chance to reclaim control.

Their luck seems to turn momentarily when they find themselves forced to cross a perilous minefield. The group hesitates at the edge, unsure of the best course, and in a sudden turn the German officer saves François Gensac from an exploding mine, though the rescue leaves Gensac seriously wounded. As they near El Alamein, the injured François is tended to, and the group debates the best way to handle their German captive. Tension rises around the question of turning von Stegel over to Allied authorities, and in a decisive moment an Allied armored vehicle suddenly appears, destroying the German car with a direct hit. The four French soldiers are killed in the blast, and Dumas emerges as the sole survivor, forever marked by the memories of the expedition.

The film closes with a stark, somber victory parade. A disoriented ex-quartermaster, [Théo Dumas], is publicly rebuked by a spectator for keeping his cap on as the troops pass by. In a moment of quiet tragedy and defiant calm, he offers a restrained, almost private explanation that reveals the weight of the experience: “Excuse me,” he replies, “I was thinking of something else.”