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Journey Into Fear (1943)

An American ballistics expert in Turkey finds himself targeted by Nazi agents. Safe passage home by ship is arranged for him, but he soon discovers that his pursuers are also on board.

Directors:

, (uncredited)

Writers:

(screenplay), (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
...
...
Josette Martel (as Dolores Del Rio)
...
Mrs. Stephanie Graham
...
Mrs. Mathews
Jack Durant ...
Gogo Martel
...
Kopeikin
Eustace Wyatt ...
Prof. Haller / Muller
Frank Readick ...
Matthews
Edgar Barrier ...
Kuvetli
Jack Moss ...
Peter Banat
...
Translator for ships captain
...
Swami Magician
Robert Meltzer ...
Ship baggageman
Richard Bennett ...
Ship's Captain
...
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Storyline

A Navy engineer, returning to the U.S. with his wife from a conference, finds himself pursued by Nazi agents, who are out to kill him. Without a word to his wife, he flees the hotel the couple is staying in and boards a ship, only to find, after the ship sails, that the agents have followed him. Written by Albert Sanchez Moreno <a.moreno@mindspring.com>

Plot Summary | Add Synopsis

Taglines:

Welles and Del Rio together! as Terror Man vs. Leopard Woman--for possession of a mysterious stranger in the powder-keg Middle East...a man with a military secret worth more than his love and his life!...It's menace melodrama thrilled with mighty mystery and suspense...SEE IT!


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

| | |

Release Date:

12 February 1943 (USA)  »

Also Known As:

A Jornada do Medo  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

When production on Journey Into Fear began, co-stars Orson Welles and Dolores del Rio had been having an affair for several years. Del Rio ended the relationship shortly after the film's release. See more »

Goofs

During the chase outside the hotel in the rain, Banat's pistol, a P-08 "Luger" runs out of ammunition but the action closes normally after he fires the last shot. This particular pistol was designed so that the action stays open after the last round is fired, giving a clear indication to the user that the gun is empty. See more »

Quotes

Kopeikin: [Seeing Graham off at dockside] Oh, by the way, have you a gun in your luggage?
Howard Graham: I haven't any luggage!
Kopeikin: Then, uh, you better take this. I picked it up on the way to see your wife. It is completely loaded.
[Pulls out a loaded revolver and hands it to Graham]
Howard Graham: Well, I don't need this!
Kopeikin: Put it in your pocket. It will make you feel nicer to have it.
Howard Graham: I never fired one of these things, you know?
Kopeikin: [laughs] That's a good one, Howard... You're a ballistics expert, and you never fired a gun!
Howard Graham: Well, I just never ...
[...]
See more »

Connections

Featured in Histoire(s) du cinéma: Toutes les histoires (1989) See more »

Soundtracks

I'd Know You Anywhere
(uncredited)
Music by Jimmy McHugh
Lyrics by Johnny Mercer
See more »

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User Reviews

Atmospheric and enjoyable thriller but far from the classic that the names involved suggest it will be
29 May 2005 | by (United Kingdom) – See all my reviews

Howard Graham is an American engineer returning from Istanbul with his wife Stephanie. A close call in a Turkish nightclub sees a man assassinated by mistake when really Howard was the target and he and his wife are quickly taken to the Turkish secret police. Colonel Haki informs him that he is a target of the Nazis and immediately gets him transit out of the country on the next available boat while he protects his wife. However Howard quickly finds that he is far from being out of danger as his pursuers are on the boat as well.

With keys part of the Third Man cast involved in this thriller, I decided to take a look and had hoped for a film that perhaps would be as enjoyable as that. However it was not quite all that I hoped it would have been as I didn't find myself that gripped by it. The early scenes suggest a real mystery with a good pace but quickly the mistaken assassination of the magician is slowed down and complicated by unnecessary characters and dialogue, some of which seemed to serve very little purpose other than setting up some other scenes later on. With Mrs Howard away somewhere out of vision and therefore out of mind, we focus on the action on other boat and, although quite tense at points, it didn't have the sort of sustained tension that should have been made easier by the confined location of the boat. It does enough to engage though and I did find it quite enjoyable but those claiming this as a classic up there with some of Welles' other films are mistaken because this is only quite good – not any more than that.

The cast was the reason I was here but they were not as good as they have been in other films. Cotton is a bit brash and loud and aspects of his character aren't brought out that well; he was still an interesting leading man but mainly because I have always liked him. Welles has a small role and seems to enjoy himself playing a role that has little screen time but is mentioned throughout the film; I'm not sure if he did direct his own scenes but that is the rumour. Del Rio is sexy and a nice presence but I wasn't overly taken by her other than that. Moss tends to steal the film with his big character lurking around early on, meanwhile the rest of the support are OK, with other languages being spoken rather than the usual American actors putting on vague accents as was often the case (and still is!). Assuming that he did direct the majority, if not all, of the film (and I do believe this) Foster does a very good job of working with shadows in early scenes and in the boat – some of his angles are effective, although it is easy to see (with some of his shots) why people generally believe that it was Welles calling the shots.

Overall this is an enjoyable thriller with a dark atmosphere brought out by good direction throughout. The cast are OK but none of the famous faces really stood out for me here, meanwhile the plot was not as tight as it needed to be, leaving some holes and using some distracting plot devices along the way. Still worth seeing but not the classic that it is often touted around as being.


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