| Photos (See all 30 | slideshow) | Videos (see all 3) |
| John Gielgud | ... | Richard Ashenden / Brodie | |
| Peter Lorre | ... | The General | |
| Madeleine Carroll | ... | Elsa Carrington | |
| Robert Young | ... | Robert Marvin | |
| Percy Marmont | ... | Caypor | |
| Florence Kahn | ... | Mrs. Caypor | |
| Charles Carson | ... | 'R' | |
| Lilli Palmer | ... | Lilli | |
| rest of cast listed alphabetically: | |||
| Denys Blakelock | ... | Minor Role (uncredited) | |
| Tom Helmore | ... | Col. Anderson (uncredited) | |
| Andreas Malandrinos | ... | Manager (uncredited) | |
| Howard Marion-Crawford | ... | Karl - Lilli's Fiancé (uncredited) | |
| René Ray | ... | Maid (uncredited) | |
| Michel Saint-Denis | ... | Coachman (uncredited) | |
Directed by | |||
| Alfred Hitchcock | |||
Writing credits | ||
| Campbell Dixon | (from the play by) | |
| W. Somerset Maugham | (based on the novel "Ashenden" by) | |
| Charles Bennett | (screenplay) | |
| Ian Hay | (dialogue) | |
| Alma Reville | (continuity) | |
| Jesse Lasky Jr. | (additional dialogue) | |
Produced by | |||
| Michael Balcon | .... | producer (uncredited) | |
| Ivor Montagu | .... | associate producer (uncredited) | |
Original Music by | |||
| Hubert Bath | (uncredited) | ||
Cinematography by | |||
| Bernard Knowles | (photography) | ||
Film Editing by | |||
| Charles Frend | |||
Art Direction by | |||
| Oscar Friedrich Werndorff | (as O. Werndorff) | ||
Costume Design by | |||
| Joe Strassner | (dresses) (as J. Strassner) | ||
Second Unit Director or Assistant Director | |||
| Pen Tennyson | .... | assistant director (uncredited) | |
Art Department | |||
| Albert Jullion | .... | assistant art director (uncredited) | |
| Albert Jullion | .... | set dresser (uncredited) | |
Sound Department | |||
| Phillip Dorté | .... | recordist | |
Camera and Electrical Department | |||
| Stephen Dade | .... | camera operator (uncredited) | |
| Reg Johnson | .... | assistant camera (uncredited) | |
| Gerry Massy-Collier | .... | assistant camera (uncredited) | |
Music Department | |||
| Louis Levy | .... | musical director | |
Other crew | |||
| Alma Reville | .... | continuity | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb UK section |
When the topic of spy movies comes up, James Bond is usually one of the first names to arise. But even spy movies had a beginning, and sure enough, in the first couple decades of cinema, who was there making spy movies? Alfred Hitchcock.
Like the other spy movies he did, (Take Torn Curtain and Topaz for instance, two of his later works. How much later? Nearly 40 years later), Secret Agent is a spy movie without lots of explosions or car chases or shootouts. Instead it is about a man who goes undercover to break up a potentially disastrous international agenda of some kind, and along the way falls in love with his partner and realizes that he's not up to the task of murdering someone.
This 1936 movie is another in Hitchcock's decade-long run of British talkies: highly-contrasted black and white, under 90 minutes generally, and devoid of major stars (except for Peter Lorre, who appears in this movie two years after he did The Man Who Knew Too Much).
But unlike many of the movies surrounding it (Young and Innocent, The 39 Steps), this one isn't quite as good. Not that Secret Agent is a bad movie, far from it:
The directing is fine, and the church-murder scene is a beautiful mix of sound and picture. Lorre is much like the male version of Bette Davis - overacting and proud of it. His role as the womanizing yet clever "General" is much lighter than his usual horror-laced stuff, and he still pulls it off with ease. The leads are equally good. And the humor laced throughout is genuinely funny. (Note that, even in 1936, it is obvious that Hitchcock was already looking for the actress that would be fulfilled in Grace Kelly - the strong, feisty, beautiful blonde leading lady.)
But there's nothing here to just make the jaw drop and the eyes widen. It is a good movie, and from a director that has had whole decades worth of *great* movies, it just seems subpar. A previous commentor was right: This was the movie for Hitchcock to remake in the 1950s (with color and Cary Grant and Grace Kelly - heck, maybe even a minor role for Jimmy Stewart), not The Man Who Knew Too Much, which was one of his best British films.
Overall, it is good and worth the watch - especially for Hitchcock fans, but it's just not quite *there*.
7/10