Eva has just gotten married to an older gentleman, but discovers that he is obsessed with order in his life and doesn't have much room for passion. She becomes despondent and leaves him, ... See full summary »
A nerd discovers he's wanted for murder, after escaping death from wreckage plummeting from a skyscraper. Passerby Frank Thompson wakes up in the street, believing it's his lucky day, then ... See full summary »
In 1917 Lt. Bill Gordon is headed for France when he meets and becomes friendly with Joel Carter, niece of the Asst. Secretary of War. Finding out that he is an expert on codes, she gets ... See full summary »
William K. Howard,
British officer is assigned to duty in Ireland and gets embroiled in Anglo-Irish battles and old girl friend who is now married to an Irishman. Powell learns more than he wanted to know ... 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 »
WILLIAM POWELL and the gorgeous HEDY LAMARR co-star in a tale of an amnesiac who can't recall what happened to him when a train wreck wipes out part of his memory. Two very cunning crooks (BASIL RATHBONE and CLAIRE TREVOR) take advantage of him by posing as people who want to help him and then plotting to extort money from the wealthy French diplomat and his wife in order to hush up the crime they say he actually did commit.
While the story itself seems far-fetched at points, it does make for an intriguing tale and it's played to the hilt by a very competent cast--although Powell as a French diplomat is a bit hard to swallow.
The sinister overtones are well played by Rathbone and Trevor, both of whom always excelled at playing shady characters in films of the '40s, with Rathbone shifting from his Sherlock Holmes roles to those of the villain. They do much to give the film a flavor of film noir, as does the B&W cinematography.
It's a clever tale, well directed by Jack Conway, and gives Powell and Lamarr a much better chance to emote than they would have two years later in a misguided comedy called THE HEAVENLY BODY.
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