An overlooked Lang spy pic, and I think better than the more widely known "Man Hunt". The fight scene between Gary Cooper and the fascist hound is a marvelous moment, though perhaps a bit too hokey and wrapped-up when the kid and his mother enter (the last-minute cover-up cliché). I also think Lilli Palmer's character goes through too much of a change after being around Cooper, suddenly all starry-eyed and dreamy.
This is an exciting espionage thriller with suspense at every corner to keep you on the edge of your seat. Gary Cooper owns it as usual in this picture and Fritz Lang brings to the screen another exciting adventure picture with gritty realism mixed with expert style that makes Hitchcock look like an amateur.
It occurs to me that spy films are about actors and mise-en-scène, scenes where every move and every object is analyzed to find the one detail that breaks the illusion. About people that shed their past lives to enter a new one in time of war, overly conscious of their mortality.
pitch black, clearly made by a broken heart. its not a fantastic film but the deep sadness it's coming from reverberates through it, through the spy-genre, through the banal love story. its clear that the American pseudo humanism is as doomed and dark as every plant, every soul, every country. a p o c a l y p t i c. and cooper is as vulnerable as I've ever seen him, long dangling limbs, nervous smile.