For a spy thriller—there are no thrills or suspense in this poorly scripted and directed film. None of the espionage operatives appear to be in mortal danger and only demonstrate a tepid apprehension of exposure. The dialogue lacks finesse, wit, excitement or urgency forcing the actors to deliver their lines as drab exposition. The suave, villainous screen persona of Conrad Veidt, usually played to excellent effect, is totally obscured in his portrayal of the German agent, Baron Karl Von Marwitz, who is the head of the intelligence ring. Vivien Leigh is the "traveling" dress designer Madeleine Goddard, working undercover, shuttling sensitive military information back and forth on behalf of the French cause. Her delicate beauty is showcased in too few close-ups. On whole, throughout the entire film, the cinema photographer relies on medium and long shots, cancelling out any possibility of conveying any subtlety of character development in the players. This misstep is especially detrimental to the progression of the romance between the two agents working for opposing sides. The audience gets no comprehension of what attracts one to the other. There is no heat, no longing desire. What do these two "lovers" see in each other? If the screenwriter knew, it certainly isn't on the screen for the viewer to see.
The art production values in this movie are egregiously inept. The story is set during World War I, yet the women are coiffed and dressed in exquisite style epitomizing 1930s soigné glamour.
The art production values in this movie are egregiously inept. The story is set during World War I, yet the women are coiffed and dressed in exquisite style epitomizing 1930s soigné glamour.