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.
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 »
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 <firstname.lastname@example.org>
The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film. See more »
Dates given in the story are out of sequence. After starting "May 10, 1916" (title), a telegram received later appears to be dated "3/4/16". A newspaper near the end of the film is dated "Tuesday, September 21, 1916," when that date actually occurred on a Thursday. Afterwards a postcard bears the date of "April 2." See more »
Though definitely one of the better films of Hitchcock's British Primitive period, it's still hard to see the hand of the master craftsman who would make "Rebecca" in this interesting but clumsy spy melodrama. The two major problems in this film are John Gielgud, looking distinctly uncomfortable in a dashing leading man role that would have gone down much better with Robert Donat or Laurence Oliver, and Peter Lorre, not able to do much with the grotesque, embarrassing Mexican blackface minstrel routine the film forces on him. The film's saving graces are Robert Young as Gielgud's unsettlingly suave American rival, and Madeline Carroll, looking and sounding uncannily like Miranda Richardson as perhaps the most uncharacteristically vivacious of Hitchcock's cool blonde heroines.
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