The Informer (1935)

Approved  |   |  Drama  |  10 July 1935 (Argentina)
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Ratings: 7.6/10 from 4,093 users  
Reviews: 42 user | 34 critic

In 1922, an Irish rebel informs on his friend, then feels doom closing in.



(screen play), (from the story by)
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Won 4 Oscars. Another 5 wins & 4 nominations. See more awards »



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Cast overview, first billed only:
Margot Grahame ...
Katie Madden
Frankie McPhillip
J.M. Kerrigan ...
Joe Sawyer ...
Bartly Mulholland (as Joseph Sauers)
Neil Fitzgerald ...
Tommy Connor
Peter Mulligan
D'Arcy Corrigan ...
The Blind Man
Leo McCabe ...
Steve Pendleton ...
Dennis Daly (as Gaylord Pendleton)
Francis Ford ...
'Judge' Flynn
May Boley ...
Madame Betty


Dublin, 1920. Gypo Nolan, strong but none too bright, has been ousted from the rebel organization and is starving. When he finds that his equally destitute sweetheart Katie has been reduced to prostitution, he succumbs to temptation and betrays his former comrade Frankie to the British authorities for a 20 pound reward. In the course of one gloomy, foggy night, guilt and retribution inexorably close in... Written by Rod Crawford <>

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Parents Guide:





Release Date:

10 July 1935 (Argentina)  »

Also Known As:

Der Verräter  »

Box Office


$243,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(R C A Victor System)

Aspect Ratio:

1.37 : 1
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Did You Know?


The premiere took place aboard the French transatlantic liner "Normandie". See more »


The surname Gallagher is pronounced "Galligger" by characters, however, in Ireland the name is always pronounced "Gallaher." See more »


Terry: [realizing Gypo's stuck him with the bill as an angry bouncer glowers at him] Oh dear, oh dear. I have a queer feelin' there's going to be a strange face in heaven in the mornin'.
See more »

Crazy Credits

Opening credits prologue: 1920 "Then Judas repented himself-and cast down the thirty pieces of silver - and departed." See more »


Featured in John Ford (1993) See more »


The Rose of Tralee
Sung by Denis O'Dea
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User Reviews

Important work of Irish patriotism from Ford still potent...
23 March 1999 | by (Philadelphia, PA) – See all my reviews

Victor McLaglen, the title character of John Ford's THE INFORMER, reminded me of the circus man from Fellini's LA STRADA. Anthony Quinn played the brutish man, who may have even been influenced by the pug-faced, Oscar-winning performance given by McLaglen. Poverty-stricken Dublin is the true-life, atmospheric setting of the picture, which takes place in 1922. Dense fog and a long damp night are the main elements of a story about deep Irish patriotism and the fight of the Irish Republican Army. The conflict of individuality and the cause is what makes THE INFORMER tick. McLaglen's large, simple character just wants to go to America and we're reminded by signs of the price for a ticket frequently. Two different signs become the psychological centerpiece for the drunken Irishman. One is the previous, the other a WANTED sign. Should he do it and get the money to go?

John Ford once famously said, "My name is Ford. I make Westerns." After seeing this film, he obviously could do a heck of a lot more. The serious social issues dealt with here are heartfelt and ones you will find yourself thinking about. And the look of the piece is amazing, consisting of long dark shadows cutting into a miserable Ireland night. Ford was always known for his luminescent, gorgeous cinematography that helped to foresee the conflicts within his characters. This is hard in color, but he did it in pictures like THE SEARCHERS, painting John Wayne in a sometimes vicious manner. Victor McLaglen's performance not only benefits from the lighting, but by the sheer simplicity of his acting. He shoves a lot. He knocks people out. He is a brute who knows no better. He should, however, know whether or not to cross the IRA.

See the film to find out the gritty details. See it also for McLaglen and Ford's patriotic portrayal of the IRA. Max Steiner's score is innovative in how it matches gestures of the characters, placing more emphasis on them. This was usually only seen in silent films, especially Chaplin. The topic of naming names or "informing" is obviously still important. Just look at how the media covered this year's Oscars, giving much attention to the Elia Kazan scandal.

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