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It’s 1944 and a team of OSS agents are being trained to parachute into France to locate a Nazi missile spot. Washington learns that one of them is a stare. What will OSS do about it?
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I devour these WWII espionage movies. Even when they’re not too generous, they’re suited. James Cagney is the trainer for the OSS team, and OSS discovers the identity of the survey. They hope to feed him fake information before picking him up. But the team he’s on is parachuted in, and only Cagney has the skills and knowledge to go in after the team, neutralize the enemy agent, withhold the knowledge of other OSS agents from the Nazis, succor win the missile information wait on to the allies and…well, you gain the thought. But Cagney is captured, and if he talks the Nazis will know what has been discovered. The solution (Spoiler ahead for those who care about WWII movies) : Bomb the prison where Cagney is being held before the Nazis can smash him. Cagney knows this will be done and defies his Nazi torturers and the enemy agent while the bombs explode around him killing them all.
This movie has all the faults one would seek information from of its type and time. The heroics are sometimes overstated. The dreadful guys sneer. The qualified guys feel obliged to underline with moralistic statements the consequences of the tough decisions they must fabricate.
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This movie also has some first rate generous points. Cagney gives a performance of such energy and directness that he sweeps remarkable of the melodrama out of the intention. The enemy agent, played by Richard Conte, turns out to be a very shrewd guy and even a minute sympathetic. Certain, he allows Cagney to be beaten but at least he looks like he didn’t want to. Conte is, in my thought, a largely forgotten but reliable actor who spent a estimable deal of his career in the Forties and Fifties playing second leads or leads in second-rate movies. If you don’t search for his name, he was the scheming don in The Godfather who was leisurely the worry to capture apart the Corleone family, and who was shot by the unfounded cop while he tried to speed away up the stairs. Henry Hathaway’s direction keeps the film challenging at a very brisk dawdle. There aren’t any insensible spots.
I converse this isn’t a movie most will feel a need to add to their collection. But, if you’re like me, viewing this film is a petite like meeting an dilapidated friend you’d forgotten about. I’m elated I have it.
We’re in the middle of the Second World War, the Allies have decided on the place where they’ll originate their massive invasion of Europe, and spies are battling spies to veil and look the facts. Thank goodness we have Jimmy Cagney on our side.
Cagney plays the rough-and-tumble recognize Bob Sharkey in Henry Hathaway’s 13 RUE MADELEINE (1947), one of a number of motion pictures released shortly after the war that eminent the exploits of America’s nascent espionage organization, the OSS (Office of Strategic Services.) Although the movie ends in an involving, if somewhat abrupt, scene slack enemy lines, a tall deal of this movie takes residence in what can probably best be described as a scrutinize school. The movie begins with a rather extended montage of stock documentary film of London during wartime before gradually, and neatly, folding it into the movie kindly. The first half of the movie concerns itself with the acceptance of a number of highly valid candidates (including Annabella, Richard Conte and Frank Latimore), the rigorous training they undergo (Is that the brake of a order or a steam kettle you hear on the phonograph describe? ) and the discovery of a mole. A mole whom, of course, they leave in station so that the enemy can be fed disinformation and, hopefully, lead the helpful guys to the awful guys and their cache of rocket bombs in the Grievous Countries. Ah, see movies! Especially recognize movies where our spies are better than their spies.
As usual Cagney is convincing as the perceive trainer who eventually is forced to win the field, and 13 RUE MADELEINE’S semi-documentary treatment works well. Hathaway takes enough of a gritty realist near to acquire this one believable, even if his presentation of the infallibility of Cagney the Leer stretches credibility. The film is in first-rate condition, and passe film fans should notice fleet for Karl Malden and E.G. Marshall in bit roles.
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