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The House on 92nd Street (1945)

Approved  |   |  Crime, Drama, Film-Noir  |  10 September 1945 (USA)
6.8
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Ratings: 6.8/10 from 2,011 users  
Reviews: 53 user | 22 critic

Bill Dietrich becomes a double agent for the FBI in a Nazi spy ring.

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(screenplay) (as Barre Lyndon) , (screenplay), 2 more credits »
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Cast

Complete credited cast:
William Eythe ...
...
...
...
Charles Ogden Roper
...
Col. Hammersohn
Lydia St. Clair ...
Johanna Schmidt
William Post Jr. ...
Walker (as William Post)
Harry Bellaver ...
Max Cobura
Bruno Wick ...
Adolf Lange
Harro Meller ...
Conrad Arnulf
Charles Wagenheim ...
Gustav Hausmann
Alfred Linder ...
Adolf Klein
Renee Carson ...
Luise Vajda
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Storyline

Preface: a stentorian narrator tells us that the USA was flooded with Nazi spies in 1939-41. One such tries to recruit college grad Bill Dietrich, who becomes a double agent for the FBI. While Bill trains in Hamburg, a street-accident victim proves to have been spying on atom-bomb secrets; conveniently, Dietrich is assigned to the New York spy ring stealing these secrets. Can he track down the mysterious "Christopher" before his ruthless associates unmask and kill him? Written by Rod Crawford <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Taglines:

A terror more deadly than murder! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

10 September 1945 (USA)  »

Also Known As:

Now It Can Be Told  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Color:

(archive footage)|

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The campus building depicted as the place where Dietrich graduated is actually Altgeld Hall on the University of Illinois campus in Urbana. 294 miles from Columbus, OH. See more »

Goofs

When the agents are preparing to do the first survey of the house they are wearing CD (Civil Defense) arm bands on their right arms. The next scene shows them approaching the house and the arm bands are now on their left arms. See more »

Quotes

Bill Dietrich: How do I get in touch with Christopher?
Col. Hammersohn: Why?
Bill Dietrich: Well, he's my boss. I've never even met him.
Col. Hammersohn: Well, he's my boss too,
Bill Dietrich: Yeah?
Col. Hammersohn: I haven't met him either.
See more »

Crazy Credits

Opening credits are shown as someone flipping through the pages of a file. See more »

Connections

Referenced in 23 Paces to Baker Street (1956) See more »

Soundtracks

You Say the Sweetest Things (Baby)
(uncredited)
Music by Harry Warren
Played as background music at the talent agent's office
See more »

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User Reviews

 
Some gripping scenes, some documentary footage, and an up and down patchwork
18 March 2010 | by (United States) – See all my reviews

The House on 92nd Street (1945)

Henry Hathaway has directed some great film noirs (Kiss of Death is indisputably great), but he also didn't mind the dull assignment here and there, as in the competent Call Northside 777 and this one, both revealing American crime detection in action. Yes, this is actually well made, but it has a documentary feel that leaves it in a straitjacket as good crime drama. It's strong stuff, and filled with significance, real Nazi activities on U.S. soil leading to the a-bomb. But you'll see, as soon as the familiar narrator starts to explain the events, that it's a formulaic approach.

To some extent, you can't really watch this without noticing it feels, from the next century (2010 as I write) like propaganda. Not that it isn't honest, it just is filled with uncritical pride. The FBI in particular comes across as flawless and brilliant, and I'm sure it often was, but not quite without complications, nuances, and personal quirks that make the best fiction films take off. This one was made just as World War II was over in Europe, and there was nothing but patriotism in the air, naturally.

I actually like Leo G. Carroll a lot, and he holds up his scenes well, and Swedish actress Signe Hasso is a surprise, strong and sharp (wait until she takes her wig off and transforms in ten seconds). Much of the movie, especially after the first half hour with all its narration and actual documentary footage, has the feel of any well constructed drama and those are the parts, for me, to hook into. Besides, there is a quality here that's really pretty fun--a glimpse into the attitude of 1945 America that isn't the usual brazen, lonely, taut film noir response. Fiction makes for better movie-going, in this case, but here is a watchable quasi-documentary that holds up pretty well, off and on, if you keep expectations in check.


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