Mary Herries is a rich woman with a habit of contributing to those less fortunate than her. On her way home from a concert on Christmas Eve she discovers a poor, would-be artist outside her... See full summary »
George B. Seitz
As a train speeds through the Arizona night, a man posing as a physician holds up the baggage-car crew and escapes with a $500,000 payroll. The fake doctor, Paul Bruckner, leaves the train ... See full summary »
A woman is found murdered in a house along the coast from Brighton. Local detectives Fellows and Wilks lead an investigation methodically following up leads and clues mostly in Brighton and... See full summary »
In Nazi Germany in 1936 seven men escape from a concentration camp. The camp commander puts up seven crosses and, as the Gestapo returns each escapee he is put to death on a cross. The ... See full summary »
Since John H. Kafka was in Hollywood in the 1940s and even wrote some MGM films, it is not known if his onscreen credit for original story is based on his direct contribution to this film, or was due solely to his work on the original 1938 French version. See more »
Although the story takes place in 1935, all of the women's fashions and hairstyles are strictly in the 1942 mode, which was significantly different from 1935. See more »
Slickly done MGM programmer. It may not be a top-of-the-line production, but it still has the studio's signature polish and glamor. The premise is an intriguing one-- is successful diplomat Powell also a murderer with a bad case of memory. With luscious wife La Marr and an ascending career, he's got a long way to fall if he is. Powell is his usual urbane self, while La Marr and Trevor get to play dress-up, big time, while Rathbone gets a break from Sherlock by playing a rather nasty villain. There's nothing special here, just an entertaining diversion with a rather unsurprising ending. For those interested in European types, this is a good opportunity to catch them under a single roof, as it were-- especially Felix Bressart, whose pixilated professor lifts the sometimes stolid proceedings. Aesthetically, there's one really striking composition of black and white photography. Powell's on his way to the river to end it all. But next to the coursing dark waters separated by a zigzagging wall is a shimmering cobblestone boulevard lit by three foggy street lamps. It's an uncommon depth of field with subtly contrasting shades of black and gray. All in all, it's a real grabber, and demonstrates vividly those values that have been lost in the wholesale move to Technicolor.
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