That mastermind of sophisticated deviousness, George Sanders, turns heroic as a British correspondent who turns traitor to turn on the Nazi's and destroy them right in front of their schwatickered backs. He does it very cleverly too, in a somewhat convoluted plot line which reveals that other major characters may not be whom they claim to be as well. He's joined by two darkly beautiful women, Marguerite Chapman and Gale Sondergaard, characters with German sounding names who may or may not be on the side of the Nazi's.
Typical war propaganda is no better, but certainly not worse, than other films of its kind of the war years, of which there were dozens. It flows by quickly, but is often perplexing as it moves from one segment of deception and danger to another. Sanders, an excellent actor in villain roles, easily convinces his British pals that he's betrayed them, and that makes the betrayal all the more believable. You can understand why even the Nazi's are fooled. It served a purpose during war, and now serves as a reminder of what the future needs to avoid if continuing freedom will prevail.
Typical war propaganda is no better, but certainly not worse, than other films of its kind of the war years, of which there were dozens. It flows by quickly, but is often perplexing as it moves from one segment of deception and danger to another. Sanders, an excellent actor in villain roles, easily convinces his British pals that he's betrayed them, and that makes the betrayal all the more believable. You can understand why even the Nazi's are fooled. It served a purpose during war, and now serves as a reminder of what the future needs to avoid if continuing freedom will prevail.