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Journey Into Fear (1942)

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), (novel)
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Cast

Complete credited cast:
...
...
Josette Martel (as Dolores Del Rio)
...
Mrs. Stephanie Graham
...
Mrs. Mathews
...
Gogo Martel
...
Eustace Wyatt ...
...
Matthews
...
Kuvetli
Jack Moss ...
Peter Banat
...
Translator for Ship's Captain
...
Swami Magician
Robert Meltzer ...
Ship Baggageman
...
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
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Did You Know?

Trivia

The film's editor, Mark Robson, went on to direct Peyton Place (1957). Coincidentally, Ruth Warrick, who plays Stephanie Graham, would later star in the television version of the film, Peyton Place (1964). See more »

Goofs

Near the end of the movie, Joseph Cotten is seen walking in the rain and entering a hotel. When he walks up to the front desk his suit looks hardly touched by the rain. However, in the next scene, when he enters his wife's room his suit is drenched. See more »

Quotes

Prof. Haller: Won't you join me, Mr. Graham? I'm just getting some fresh air.
Howard Graham: Oh.
Prof. Haller: [standing at the ship's railing, looking into the distance] To see the land from a ship, or to see a ship from the land, I used to like both. Now I dislike both. When a man reaches my age, he grows, I think, to resent subconsciously the movement of everything except the respiratory muscles which keep him alive. Movement is change. And to an old man, change means death.
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Soundtracks

I'd Know You Anywhere
(uncredited)
Music by Jimmy McHugh
Lyrics by Johnny Mercer
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User Reviews

 
Of such strokes is suspense made…

The operatic approach of adding a musical dimension to menace with a killer-theme on the soundtrack has been greatly used in Orson Welles' glorious suspense film, "Journey Into Fear," where the little killer obsessively played a scratchy old 78 rpm disc of someone singing "Chagrin d'Amour."

The assassin was short and fat; his belly large, his chin and neck flabby... I do not recall him having a line of dialog to speak… But the whole film was spread with heightened menace when he sat, his little round eyes blank behind his little round pebble lenses, listening compulsively to the atrociously scratchy record, confusing the words of the song at the wrong speed, the needle jumping from groove to groove; his nerve-ends, unlike ours, immune to the discordance…

This was a spy thriller set in the wartime Near East, about an innocent American engineer (Joseph Cotten), pursued by Nazi agents and blundering from danger to danger without seeming to know too much of what it was all about…It was essentially a hunter-and-hunted story, with settings that were often seedy but always exotic…

The opening was in Istanbul, the climax in Batum, and all the terrors between were forced claustrophobically between the low ceilings and narrow partitions of a neglected little steamer plowing the Black Sea…

"Journey Into Fear" lives for its portrait gallery, its atmosphere, and for Welles' touches and excesses…


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