Hugely enjoyable low-key Hitchcock thriller with the usual mastery evident throughout the search for the saboteur. The expressionist lighting, the scene in the aircraft factory oozing with evil, the magic of the studio scenes, as well as some remarkable set pieces enhance the tropes of appearance inversions, all orchestrated with craftmanship and wit to make this an enthralling experience.
The Statue of Liberty scene, as well as the confusing bedlam that ensues when an actual gunfight breaks out during a film's gunfight in a theatre auditorium, are two of the most creative set-pieces Hitch ever unfurled. It's too bad the rest of the movie is so cold and contrived. The propagandist elements don't help it, either.
I'm surprised by the low average rating given on Mubi for this film, as I personally loved it. Recently I've been working through the Hitchcock films that have passed me by, and this one I thought was an absolute gem. Not only is there a lot of tension built into it, there is also a noir-like quality to it, which presumably would have influenced the genre, rather than to have been influenced by it. Brilliant!
Kinda middletier Hitch tbh, but TONS of great moments to make it worth checking out. The circus car scene, Otto Kruger's anti-American monologue at the end and the way it is filmed with him off in the distance is very effective, and of course the talked about to death finale. Apparently Norman Lloyd, the villain, was in Mercury with Welles and wouldve likely been in Cit. Kane if not loaned out for this film. 4 stars
Hay algo que me fatiga e incluso me molesta de esta película. El énfasis por remarcar el mensaje patriotero que se transmite a través de un discurso forzado. Esa necesidad por enaltecer y evocar el perfil bien guarnecido de los héroes hacia su nacionalidad. Cosa muy distinta a lo que por entonces sucedía con el cine soviético, también patriotero, pero de lenguaje menos evidente. En trama, simil fórmula de Hitchcock.
Forse troppa carne al fuoco.é un susseguirsi di accadimenti nella prima parte,in cui Hitchcock regala scene bellissime(il cieco,il circo),ma nella parte centrale e nel finale entrano troppi personaggi,il tempo si dilata troppo(emblematica la durata del ballo)e il tutto diventa un pò troppo farraginoso a scapito della linearità che è un marchio del regista.Sabotaggio(del periodo inglese)è più bello.3,5*
By 5 minutes in, with just a handful of images and happenings, Hitchock casually introduces 2 complex conflicts, a host of intriguing characters and one thrilling mystery. Impressive filmmaking, excellent themes and a good story, but perhaps not the most genuine performances or authentic emotion. An altogether good movie, but the first 5 minutes are flat-out brilliant. Susie: best baby-role ever.