In 1915, German Counter-Intelligence Chief Von Sturm learns that someone is providing the British with critical strategic planning for the Turkish theater. He suspects Ali Bey, Turkish ... See full summary »
In 1915, German Counter-Intelligence Chief Von Sturm learns that someone is providing the British with critical strategic planning for the Turkish theater. He suspects Ali Bey, Turkish commander for the Dardanelles, and dispatches Annemarie to Constantinople to secure the proof. En route she becomes involved with Douglas Beall, a footloose American. Complications ensue, requiring Annemarie to engage in some dangerous improvisations. Written by
Stephen Bayer <firstname.lastname@example.org>
In the scene where Annemarie tells Von Sturm of her recent exploits as she prepares to bathe, the slip she is wearing is so shear that it becomes see-through. This was extremely risque for a movie of that era. See more »
When Ali Bey arrives at the charity bazaar, his soldiers salute him, and the salutes are standard right-hand-to-the-forehead salutes, except for the soldier who holds his thumb to his nose, with the palm open and his four fingers extended (but not wiggling). Yet it still appears as if he is thumbing his nose at Ali Bey. See more »
Rosen aus dem Süden (Roses from the South), Op. 388
Music by Johann Strauß
(Played when Beall sees Annemarie for the first time) See more »
By the time this movie was shown, Myrna Loy had grown into the American sweetheart that made her a natural in the Thin Man and other great films. She might have pulled off this role better a few years earlier when she more looked the part (and was made up to be) of the mysterious woman. She looks neither the spy Fräulein Doktor nor in love -- granted she does look good nonetheless. Story line is fair but one wonders why a medical student has the means and time to leave wartime Germany to cross the border into Turkey? Basic question is whether Myrna will complete her mission successfully or succumb to the charms of George Brent having just burned Mata Hari for falling in love. Scenes where the lovers and later Myrna and her boss openly discuss in a hotel room her role as a spy obviously predate hidden microphones. An American doing nothing about a German spy who will not give up her career for him is probably technically true (the story is based upon an actual incident) but still is a stretch. Lionel Atwill C. Henry Gordon do very well as the heavies. Some excellent camera work with good shadows and interesting transitions. One of the Turkish hotel scenes looks remarkably like the same set used later in Ninotchka. Not a great movie, but not bad either. Recommended.
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