There is a problem with foreign nationals using Cuba as a convenient jumping off point for illegal entry into the United States. So U.S. Immigration Service Agent Peter Karczag (John Hodiak... See full summary »
Madeleine Damien is the fashion editor of a slick Manhattan magazine by day and a lively party girl by night. Unfortunately, the pressures of her job, including kowtowing to a hefty ... See full summary »
Peanuts White, a burlesque comic, is recruited by U.S. agents to impersonate international spy Eric Augustine (whom White resembles) in a mission to purchase a million-dollar microfilm in ... See full summary »
Georgi has attempted suicide in reaction to an earlier love affair. Now that Dr. Decker has married her he sets out to get her to love him. To make enough to give her what she wants he ... See full summary »
Vincent Van Der Lyn, a Dutch freedom fighter in WWII, is forced to neutral Lisbon to escape the Nazis. There he meets a small band of underground conspirators. The group's leader, Ricardo ... 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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