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American correspondent Bill Roberts is a thorn in the side of the Nazis, as his paper always scoops the world with the truth about Germany. Gestapo Captain Carl Von Rau means to plug the leak and assigns Karen Hauen, who he attends to wed, to the case. Roberts is obtaining his information for his stories and broadcasts from an elderly stamp collector who, defiantly opposed to the Nazis, sells the "proper" stamps to Roberts, giving him the information. Attracted to Karen, Roberts invites her to his apartment where she learns his secret. The old philatelist is sent to a concentration camp, and then Karen learns that he is her father. She appeals to Roberts for help and he, in loyalty to the old man and now in love with Karen, agrees to help. Written by
Les Adams <firstname.lastname@example.org>
Nifty little World War II programmer...taut, exciting, if improbable...
BERLIN CORRESPONDENT was one of many propaganda films that entertained World War II audiences in 1942. When it played the local theater houses in the New York area during the age of double features, BAMBI was on the top half of the bill with the DANA ANDREWS film second on the bill.
It's got a really improbable storyline but if you can accept the fact that this is "just a movie" and made for propaganda escapist fare in the early '40s, it's well worth watching.
Dana Andrews is excellent as an American reporter who risks his life so that his sweetheart and her professor father can escape the Nazis. By the time the story gets to the concentration camp scenes near the end, it has compiled a number of improbable twists and turns. Nevertheless, it's briskly paced, well acted and photographed in crisp B&W style that results in good entertainment. The story moves to a fast-moving climax when Dana's planned escape goes amok.
Martin Kosleck makes the most of his Nazi role, the kind he played often in these wartime dramas, and Virginia Gilmore is pleasantly appealing in the leading femme role. Mona Maris seemed to specialize in playing bad girl spies in these kind of stories.
Taut, tense and exciting, flawed only by some improbabilities in the script.
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