Steinesongo Too many fans seem to be blown away

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Married Baby Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

JohnHowardReid I'm puzzled why this interesting "B"-grader directed by Norman Foster is not listed for preservation. In the first place, as with almost all of 20th Century-Fox "B" grade entries, Production Values are first class. And even more importantly, Foster's direction is extremely capable. His compositions are agreeably tight and he employs many close-ups which, unlike those in most TV movies, are not only reasonably tight but are smoothly and adeptly integrated into the flow and rhythm of the film. Perhaps even more importantly, the cast is very strong. Edmund Gwenn (the police inspector), plus Leo G. Carroll and Lillian Bond (as the Nazi agents) turn in their usual first-rate performances, while Nancy Kelly makes a charming and sympathetic female lead. Even more importantly, the switch from Henry Wilcoxon to John Loder is managed with unobtrusive skill and admirable ease.Sets and costumes are attractive, whilst the photography - in an unobtrusive display of impeccable craftsmanship - contrives to both flatter the players and set the right moods. And I've no doubt the screenplay's double identity theme will delight all viewers who have a fondness for such ploys. My only quibble - and the reason I've not given this little gem of a movie a higher rating - is that the conclusion (although actually based on fact) makes the inspector's previous actions seem somewhat forced and even stupid.