7.4/10
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Man Hunt (1941)

Not Rated | | Drama, Thriller, War | 20 June 1941 (USA)
British hunter Thorndike vacationing in Bavaria has Hitler in his gun sight. He is captured, beaten, left for dead, and escapes back to London where he is hounded by German agents and aided by a young woman.

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(novel), (screenplay)
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Cast

Cast overview, first billed only:
...
...
...
...
Mr. Jones
...
...
Doctor (as Ludwig Stossell)
...
Lady Alice Risborough
Frederick Worlock ...
Lord Gerald Risborough
Roger Imhof ...
Captain Jensen
Egon Brecher ...
Pawnbroker
...
Major
...
Saul Farnsworthy
...
Lyme Regis Postmistress
Arno Frey ...
Police Lieutenant
Frederick Vogeding ...
Ambassador (as Fredrik Vogeding)

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Storyline

British hunter Thorndike vacationing in Bavaria has Hitler in his gun sight. He is captured, beaten, left for dead, and escapes back to London where he is hounded by German agents and aided by a young woman.

Plot Summary | Plot Synopsis

Genres:

Drama | Thriller | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

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Release Date:

20 June 1941 (USA)  »

Also Known As:

Rogue Male  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

When this movie was made, America was not part of World War II. At this time, a number of Hollywood studios were pro-American involvement in the war. This movie is one of a number of films made during the late 1930s and early 1940s that represented pro-American intervention in the war. These films include: A Yank in the R.A.F. (1941), Man Hunt (1941), Foreign Correspondent (1940), The Mortal Storm (1940), Confessions of a Nazi Spy (1939) and Sergeant York (1941). See more »

Goofs

London tube trains have a unique 4-rail electrification scheme - a third rail in the usual outside position at 420 volts and an unusual center rail at -210 volts. The movie's tunnel set has only the center rail. See more »

Quotes

Vaner: Have you committed a crime, sir?
Captain Alan Thorndike: No.
Vaner: Was it, um, about a woman?
Captain Alan Thorndike: [smiling] I see you know life.
Vaner: I thought so. They're a dickens of a problem, aren't they, sir?
See more »

Connections

Referenced in Inglourious Basterds (2009) See more »

Soundtracks

God Save the King!
(uncredited)
Traditional
[Attributed to Thomas Augustine Arne and Henry Carey]
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User Reviews

 
A Fugitive from the Law of Averages
3 November 2009 | by (Cincinnati, OH, United States) – See all my reviews

Fritz Lang loved to leave one's heart in one's throat with his story about how, in the 1930s, Adolf Hitler ordered him for a meeting. The Fuhrer had seen Metropolis and wanted Lang to be an official Reich filmmaker. Lang said, "Oh well yeah sure of course," and then fled the country as fast as he could, not even stopping to withdraw his bank account. In Hollywood soon after, Lang had a little window to clear the air with this dramatic thriller.

I know it seems like the plot is best withheld once you read as far as that a British hunter happens to all the sudden have Hitler in his crosshairs. I won't tell you anything more about that situation. But I will say the film is episodic. There is a chapter involving Roddy McDowell aiding and abetting, and another concerning a cockney streetwalker played by Lang regular Joan Bennett who very quickly falls in love with him, although the context and situation allow a more sensible reason for there to be an easy token love subplot than usual. The hero is played by Walter Pidgeon, a refreshing actor of the studio era owing to his guilelessness, his lack of any affectation, though it grows bothersome that he appears as a well-to-do Englishman with an inexplicable American accent.

The film's lasting issues crop up simply because of the fact that it was 1941. There are several moments where you will be absorbed in Fritz Lang's trademark approach wherein points on social evils and multi-faceted subtext sneak up on you, but other moments don the guise of a zealous, conventional pro-war film, but luckily, that assault on the Lang's ominous omniscience mostly ushers in during the final few minutes. For the most part, this underdog war picture, which the Hays Office claimed in the time and place's atmosphere which avoided entangled alliances and controlled any cultural exchange, showed all Germans as evil as opposed to other films showing both good non-Nazi Germans as well as evil National Socialists, is a very carefully laid, continuously ambushing and expertly played bit of watchful waiting.


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