Foreign Agent (1942)Hollywood starlet foils an Axis plot to sabotage the L.A. infrastructure. Director:William Beaudine |
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Foreign Agent (1942)Hollywood starlet foils an Axis plot to sabotage the L.A. infrastructure. Director:William Beaudine |
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| Cast overview, first billed only: | |||
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John Shelton | ... |
Jimmy
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| Gale Storm | ... |
Mitzi Mayo
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Ivan Lebedeff | ... |
Okura
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George Travell | ... |
Nick Dancy
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Patsy Moran | ... |
Joan Collins
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Lyle Latell | ... |
Eddie McGurk
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Hans Schumm | ... |
Dr. Werner
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William Halligan | ... |
Bob Davis
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Kenneth Harlan | ... |
George McCall
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Herbert Rawlinson | ... |
Stevens
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Boyd Irwin | ... |
Elliott Jennings
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| David Clarke | ... |
Carl Beck
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Fee Malten | ... |
Anna
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Edward Peil Sr. | ... |
Robert Nelson
(as Edward Peil)
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Paul Bryar | ... |
Jerry the bartender
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Hollywood starlet Mitzi Mayo gets involved in a plot to steal her late father's searchlight filter plans. She joins forces with her friend Jimmy, who is working for the government. Together they manage to foil a German-Japanese plot to obtain the blueprints and to support a planned Japanese bombing of Los Angeles. Written by Ron Kerrigan <mvg@whidbey.com>
With William "One Shot" Beaudine directing, Monogram reacted to the US entry into WWII with its typical style........cheap and cheaper. Starring John Shelton (whoever that was) and Gale Storm (better known as "My Little Margie" from early television), the story, what there is of it, concerns a group of spies ("group" in a Monogram film means two or three individuals) ineptly working at espionage. There are basically two sets, an apartment and the spies' hideout and the acting is what you expect from Monogram Studios.
The story is unimportant here......needless to say the spies get caught in the end before any damage is done. But there are a couple of things worth noticing. In the beginning of the film there is a shot of the Hollywood Blvd. and Gower street sign. "Gower Gultch" as it was known was the home of the poverty row studios, Monogram, PRC, etc. It appears Beaudine ran outside the building to take a shot of the street sign as a lead in to the film. Sure beats location work.
Secondly, in an earlier part of the film the conversations of the spies are recorded by the good guys. In order to flesh out the film's running time, the recording is played later in the story and we have the chance to hear a total repeat of the earlier scene of the aforementioned conversation. It is this kind of thing that is endearing about the poverty row studios. They found a way to make films on a shoestring using little tricks like that.
This film isn't much but it is not as bad as some of Monogram's offerings. So if you are a fan of Monogram, Mascot, PRC or Tiffany studios, give it a watch. You just have to love these little footnotes to Hollywood history.