The Lone Wolf Michael Lanyard takes Inspector Crane's challenge that he can't keep out of trouble for 24 hours. No sooner accepted when Lanyard is sucked into a case of murder and ... See full summary »
A group of "spies" is after the plans for an anti-aircraft gun, and the leader uses the opportunity to embroil the Lone Wolf in the plot. Trying to settle an old score, this shady character... See full summary »
Delia Jordan's father is murdered and some very valuable jewelry stolen. She hires Michael Lanyard (aka The Lone Wolf), a retired-and-reformed jewel thief to find the killer and the jewels.... See full summary »
Michael Lanyard (Gerald Mohr) is suspected of stealing two fabulous diamonds from a vault in Scotland Yard, where they were being held for safekeeping, but the Yard can't prove he did it. ... See full summary »
A woman and a man vying for a woman's affection: the usual love trio? Not quite so since the belle in question is Lorraine de Grissac, a very wealthy and alluring society woman, while one ... See full summary »
When Donald Jameson (Robert Stanford) showed up with his 'fiance' (Ann Savage), he introduced her to Lanyard and Booth as Valerie, but immediately after, Booth called her Miss King - how did he know that? See more »
I can bring you much information, for which you will pay me many shillings.
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The other user comment misses the point of this film entirely; Passport to Suez is not supposed to be a serious historical examination of what might have happened had the Nazis gained control of the Suez Canal, but a spy/mystery/adventure with some comedy laced in.
Warren William's final turn as Michael Lanyard is a real winner, thanks to a complex and witty script and the direction of the great Andre De Toth. The Lone Wolf films are always entertaining (with the exception of The Lone Wolf Spy Hunt, which was nearly ruined by Ida Lupino) but Passport to Suez has a classier feel than any of its predecessors. The camera-work in the film is moody and atmospheric, William's first meeting with Mr. X is very memorable, and one murder scene that takes place on an Alexandrian street is positively stunning, something Hitchcock needn't have been ashamed of. The mystery is intricate and well-meshed, and the script features a memorable array of colorful characters--Gavin Muir's friendly and urbane Nazi operative, Sheldon Leonard's slick nightclub owner, Anne Savage's femme fatale, Sig Arno's eccentric stool pigeon, Frederic Worlock's uptight British intelligence officer, Jay Novello's sleazy spy, and especially Lou Merrill's phlegmatic but deadly double-agent.
William himself handles the atypical seriousness of the plot perfectly and reins in his usual enjoyable hamminess, while Eric Blore provides impeccable comedy relief(his reaction to the mysterious phone caller at the beginning of the picture is hilarious--I feel that way with certain telemarketers).
The propaganda in the film is mercifully minuscule; it has none of the protracted speeches that popped up in the earlier Lone Wolf film Counter-Espionage. Aside from Warren's remark to Muir about the "New European Order having no room for sentiment," propaganda is bypassed for sheer entertainment.
A worthy finale to William's illustrious stint as the Lone Wolf.
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