A French intelligence agent becomes embroiled in the Cold War politics first with uncovering the events leading up to the 1962 Cuban Missle Crisis, and then back to France to break up an international Russian spy ring.
A man in London tries to help a counterespionage agent. But when the agent is killed and the man stands accused, he must go on the run to both save himself and also stop a spy ring which is trying to steal top secret information.
Los Angeles aircraft worker Barry Kane evades arrest after he is unjustly accused of sabotage. Following leads, he travels across the country to New York trying to clear his name by exposing a gang of fascist-supporting saboteurs led by apparently respectable Charles Tobin. Along the way, he involves Pat Martin, eventually preventing another major act of sabotage. They finally catch up with Frank Frye, the man who actually committed the act of sabotage at the aircraft factory. Written by
Universal was concerned with the 50+ sets Alfred Hitchcock ordered, including a vast desert scene to be built on Stage 12 with a reconstruction of part of a river and waterfall, as well as the set for the Park Avenue mansion's grand ballroom. See more »
After arriving at the Statue of Liberty, a close-up shows Priscilla Lane in a very strong wind mussing her hair. In the next shot her hairdo is perfect. See more »
This is one of the classic Hitchcock films. It's not really a great film but its classic Hitchcock all the same. It's got the cross- country chase, the interesting characters and situation along the way, the innocent hero and the blonde, the oily villain and his crazed henchman, the big ending, (North by Northeast?).
I think it's a little weak that every nice person- save for the girl, instinctively knows Bob Cummings is innocent the moment they meet him. If you ran into a guy who is accused of torching a defense plant and his best friend with it, who you immediately decide that he's not so bad? Also the horrendous nature of the accusation would make the `It Happened One Night' type scenes that draw the hero and heroine together rather unlikely. The wartime patriotic speech at the end can certainly be forgiven. What movies in 1942 didn't have a speech like that?
The big thing, of course is the ending. Sweet old Norman Lloyd in his younger days finds, as Ben Hecht said, that `he needs a new tailor.' It's a model for many similar scenes later. One wonders why there was no denouement. Lloyd tells Cummings that he will clear him and then dies. Is Cummings on his way to jail at the end? An earlier scene suggests that the police already on his side. Wouldn't it be better to make that unclear and then have a scene afterwards where we find out he's off the hook?
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