A series of 19 musical and comedy "vaudeville" sketches presented in the form of a live broadcast hosted by Tommy Handley (as himself). There are two "running gags" which connect the ... See full summary »
A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missle Crisis, and then back to France to break up an international Russian spy ring.
During the first world war, novelist Edgar Brodie is sent to Switzerland by the Intelligence Service. He has to kill a German agent. During the mission he meets a fake general first and then Elsa Carrington who helps him in his duty. Written by
Claudio Sandrini <email@example.com>
This was Michael Redgrave's film debut. He played the part of an Army Captain and appears in two scenes. The first is near the beginning of the film when he appears at the end of the scene between Ashenden and R. He also appears near the end of the film when he is introduced to Colonel Anderson in the sauna. See more »
When the little dog is scratching at the door, he is facing
left and is in front of the right-side door. When the elderly lady then (immediately) picks up the dog, he is facing right and is in front of the left-side door. See more »
A super film with probably the ideal balance of Hitchcockian control and cast contribution. The story is told at a good, brisk pace, slowed only to incorporate the three to four exemplary tension-ratcheting sequences. There's also ingenious use of the camera: the pick of the aforementioned suspense set-pieces involves intercutting between two characters on the Alps and a hotel room. Hitchcock's manoeuvre to the eye piece of the Alpine telescope and thence to the climbers would tickle the David Fincher of Panic Room.
The acting is solid gold. A young, terse John Gielgud cannot fail to capture (Hitchcock blonde) Madeleine Carroll's heart. Opposite this requisite lovematch are Robert Young's Yank charmer Marvin (his character manages to give the picture much needed sveltesse and glamour) but above all the unique contribution of Peter Lorre. Everyone knows Lorre from Casablanca; here he is a much more rounded, entertaining but no less interesting character.
A half-fumbled ending is symptomatic of the trust placed by the cast in the 'process', so this as other bumpy moments can be put down to Hitchcock and, in their turn, to contemporaneous technical limitations. It's a great matinée. 7/10
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