Compact well directed drama of the dawning realization of the Nazi threat in Europe. A noir before that was a popular genre. Walter Pidgeon handles his role well, his suave dignity enabling him to move from the lighter tone at the start of the film to the serious one later on. Joan Bennett is a breezy delight as a practitioner of the world's oldest profession although the Hayes office ludicrously insisted she have a sewing machine in the corner of her room to make it appear she's a seamstress. She did some of her best work in Lang films, he was a tough director but she was herself a straight shooter who had no problem giving as good as she got enabling them to work well together through four films.
91 Reviews
A perfectly made period film that holds its own to this day...thanks to Fritz Lang
secondtake15 December 2012
Man Hunt (1941)
Offhand the title and idea to this movie sounds a bit routine--a man singlehandedly avoiding authorities and pursuers. Even the extra theme that the Nazis are the bad guys sounded well worn, though the fact it was shot and released during that interesting two year period of WWII before the Americans got involved is something of a hook.
But I watched mainly because the formerly German director, Fritz Lang, is one of the handful of best directors ever.
And it pays off. The clichés are made fresh--even the Nazi types are different than you'd expect. The filming is great, showing the use of shadows and ominous points of view that film noir would take up in the next couple of years. And the plot has a mixture of one man against the world survival as well as boy meets girl romance.
It's terrific stuff, hardly dated at all. And the cinematography is by one of the stalwarts of the period, Arthur Miller, so it has lots of moving camera and interesting tight compositions.
The main character Alan Thorndike is played by Walter Pidgeon, one of those leading males who hasn't always stood up well over time. The deep voice, nice guy quality he is famous for isn't always matched by a pertinent acting intensity. His physical presence in a film is often a shade unconvincing. Lang might have found a perfect balance here because Thorndike's situation is so harsh, at least at times, and there is often a contrasting focus on Pidgeon's face and the innocence it is so good at projecting.
Oddly (and maybe with some political savvy, who knows), Pidgeon is a Canadian playing a Brit, with no attempt at an accent, so this supposedly patriotic movie has a weird falseness in every scene. The reason this might be on purpose is it's carried through all along--the leading woman, Joan Bennet, is a New Jersey girl who has adopted a strong Irish (I think, or Cockney) accent. And the main Nazi is played by upper crust British legend George Sanders (who was born in Russia). And so goes this international plot.
Of course, Lang was an expatriate German Jew working for Hollywood. He was becoming known for his anti-Nazi fervor to the dismay of the right wing Hays Code commission, which we now understand better. Lang's penchant for shooting at night (which goes back to his days in the German film industry) and his ability to make people sinister without actually showing them doing sinister things is partly why this simple movie works. It's also made complicated by the large range of locations used (or invented in the studio), and by the irony of the sweet love affair in the wings in the second half.
You might say it's a propaganda film if you want to use that word loosely. It does at the very end send a message to the viewers, and to Hitler, that the British are out to get him. But really this is a movie about good against evil, about free thinking versus doing what you're told. And about love, completely unfulfilled, but so incipient you feel it and want it.
Yes, see this, if you like movies from the period, or know you like Lang's films. Or if you like film noir, since this is a pre-cursor. Or see it if you appreciate a very well made film with an edgy historical setting.
Offhand the title and idea to this movie sounds a bit routine--a man singlehandedly avoiding authorities and pursuers. Even the extra theme that the Nazis are the bad guys sounded well worn, though the fact it was shot and released during that interesting two year period of WWII before the Americans got involved is something of a hook.
But I watched mainly because the formerly German director, Fritz Lang, is one of the handful of best directors ever.
And it pays off. The clichés are made fresh--even the Nazi types are different than you'd expect. The filming is great, showing the use of shadows and ominous points of view that film noir would take up in the next couple of years. And the plot has a mixture of one man against the world survival as well as boy meets girl romance.
It's terrific stuff, hardly dated at all. And the cinematography is by one of the stalwarts of the period, Arthur Miller, so it has lots of moving camera and interesting tight compositions.
The main character Alan Thorndike is played by Walter Pidgeon, one of those leading males who hasn't always stood up well over time. The deep voice, nice guy quality he is famous for isn't always matched by a pertinent acting intensity. His physical presence in a film is often a shade unconvincing. Lang might have found a perfect balance here because Thorndike's situation is so harsh, at least at times, and there is often a contrasting focus on Pidgeon's face and the innocence it is so good at projecting.
Oddly (and maybe with some political savvy, who knows), Pidgeon is a Canadian playing a Brit, with no attempt at an accent, so this supposedly patriotic movie has a weird falseness in every scene. The reason this might be on purpose is it's carried through all along--the leading woman, Joan Bennet, is a New Jersey girl who has adopted a strong Irish (I think, or Cockney) accent. And the main Nazi is played by upper crust British legend George Sanders (who was born in Russia). And so goes this international plot.
Of course, Lang was an expatriate German Jew working for Hollywood. He was becoming known for his anti-Nazi fervor to the dismay of the right wing Hays Code commission, which we now understand better. Lang's penchant for shooting at night (which goes back to his days in the German film industry) and his ability to make people sinister without actually showing them doing sinister things is partly why this simple movie works. It's also made complicated by the large range of locations used (or invented in the studio), and by the irony of the sweet love affair in the wings in the second half.
You might say it's a propaganda film if you want to use that word loosely. It does at the very end send a message to the viewers, and to Hitler, that the British are out to get him. But really this is a movie about good against evil, about free thinking versus doing what you're told. And about love, completely unfulfilled, but so incipient you feel it and want it.
Yes, see this, if you like movies from the period, or know you like Lang's films. Or if you like film noir, since this is a pre-cursor. Or see it if you appreciate a very well made film with an edgy historical setting.
Tense Wartime Thriller
rmax3048236 December 2009
Warning: Spoilers
Fritz Lang brought with him from Germany the ability to use light and shadow effectively and it certainly shows in this taut drama. When Joan Bennett enters her apartment for the last time, she flicks on the light and sees three strange men in the corner, waiting for her. The two men on the sides act as bookends for the boss in the middle, George Sanders, who stands in silhouette except for the glint of his monocle. It's a shocking moment.
The story has Walter Pidgeon as an aristocratic big game hunter visiting Germany just before the war. He makes what he calls "a sporting stalk" and zeroes in with his high-powered rifle and scope on Adolf Hitler, resting on a balcony 500 yards away. He pulls the trigger on an empty chamber. The sporting stalk is now complete. But as he prepares to leave, Pidgeon has second thoughts, repositions himself, and inexplicably inserts a round into the chamber.
He's captured by German guards before he can fire the rifle and is beaten before managing to escape. Roddy MacDowell, as a cabin boy, stows him on a Danish ship that brings him to England.
Thereafter it gets a little complicated. The Germans still have Pidgeon's passport and identification and they slip a spy into England disguised as Pidgeon. At least I think the fellow is a spy. It was never clear to me why he was sent in. Nor was it clear to me why it was so necessary for this cabal of German miscreants in England to murder Walter Pidgeon.
Joan Bennett is conventionally pretty. Her features are even. And she does her best at a working-class London accent but fails. (George Sanders' German is perfectly acceptable.) But she has a function in the plot. She gets swept up in Pidgeon's predicament and gets him out of some tight spots, paying for it later. And she teaches the upper-class Pidgeon how to eat fish and chips with his fingers. Too bad they weren't at the Edinburgh Castle on Geary in San Francisco. Their fish and chips are better than any I've had in England.
The story is confusing at times but still chilling with its urban paranoia and its setting of dark alleys and empty underground stations.
The ending has Pidgeon parachuting into Germany armed with a new precision rifle and fully aware of his intention now to kill the Fuhrer. In 1941, that was wish fulfillment on a large scale.
The story has Walter Pidgeon as an aristocratic big game hunter visiting Germany just before the war. He makes what he calls "a sporting stalk" and zeroes in with his high-powered rifle and scope on Adolf Hitler, resting on a balcony 500 yards away. He pulls the trigger on an empty chamber. The sporting stalk is now complete. But as he prepares to leave, Pidgeon has second thoughts, repositions himself, and inexplicably inserts a round into the chamber.
He's captured by German guards before he can fire the rifle and is beaten before managing to escape. Roddy MacDowell, as a cabin boy, stows him on a Danish ship that brings him to England.
Thereafter it gets a little complicated. The Germans still have Pidgeon's passport and identification and they slip a spy into England disguised as Pidgeon. At least I think the fellow is a spy. It was never clear to me why he was sent in. Nor was it clear to me why it was so necessary for this cabal of German miscreants in England to murder Walter Pidgeon.
Joan Bennett is conventionally pretty. Her features are even. And she does her best at a working-class London accent but fails. (George Sanders' German is perfectly acceptable.) But she has a function in the plot. She gets swept up in Pidgeon's predicament and gets him out of some tight spots, paying for it later. And she teaches the upper-class Pidgeon how to eat fish and chips with his fingers. Too bad they weren't at the Edinburgh Castle on Geary in San Francisco. Their fish and chips are better than any I've had in England.
The story is confusing at times but still chilling with its urban paranoia and its setting of dark alleys and empty underground stations.
The ending has Pidgeon parachuting into Germany armed with a new precision rifle and fully aware of his intention now to kill the Fuhrer. In 1941, that was wish fulfillment on a large scale.
A great thriller from right before USA entered WWII
AlsExGal8 October 2020
"Man Hunt" is an excellent thriller that doesn't look like it is almost eighty years old, and is one of my favorite Fritz Lang films. Ahead of its time in the complexity of its characters, it is about a man (Walter Pidgeon) who tries to assassinate Hitler but gets caught. Left for dead at the bottom of a cliff by the authorities, he lives and makes his way to a boat on its way to London. However, on the ship there is someone all too interested in his story. Soon he realizes he is being followed and, once back in England, turns to Joan Bennett for help. Lang manages to do a very good job of portraying the Nazis in a more complex and insightful manner than other films of this time period (it was made in 1941).
Rumors were at the time (2009) that this was cleaned up and released on DVD to capitalize on the DVD release of Tom Cruise's Valkyrie. Oh well, I'll take my classic films any way that I can get them.
Rumors were at the time (2009) that this was cleaned up and released on DVD to capitalize on the DVD release of Tom Cruise's Valkyrie. Oh well, I'll take my classic films any way that I can get them.
top-drawer Lang
mukava99115 September 2009
Warning: Spoilers
Man Hunt is one of Fritz Lang's most satisfying films: with the help of the superior scenarist Dudley Nichols, he has crafted an action-packed, humorous, emotionally wrenching, well- paced if not always plausible, literate and imaginatively photographed thriller. The plot grabs you immediately: in the summer of 1939 a tweedy British gentleman game hunter decides that it would be an interesting challenge to see if it would be possible to shoot Hitler if he wanted to, just for the sport of it, so he sneaks to the dictator's Bavarian retreat and fixes him in the sights of his unloaded hunting rifle. After satisfying his curiosity he makes a snap decision to actually load the weapon and fire, but just as he is about to pull the trigger a leaf falls on his gun sight and as he brushes it away, a guard sees his moving arm, jumps him and captures him. After a beating by Nazi goons, he is presented to suave bigwig George Sanders (in a matchless performance that goes a long way toward capturing and holding audience attention in the early scenes) who tries to convince him to sign a confession stating that he had intended to assassinate Hitler. When Pidgeon refuses to comply, Sanders and Co. shove him off a cliff in the middle of the night, but his fall is broken by a tree branch and he escapes with the Nazis at his heels. He manages to make his way to a port where he eludes his pursuers by hiding on board a cargo ship bound for London, with the help of a young ship mate played winningly by Roddy MacDowall. But the henchmen, led by the menacing John Carradine, follow him abroad. The rest of the film involves the cat and mouse action between the hero and villains.
I would be tempted to argue that this is Walter Pidgeon's finest work but I haven't seen everything he's done. Fritz Lang certainly got an uncharacteristically passionate performance out of him, especially in the final scenes. As the prostitute who gets caught up in his intrigues Joan Bennett makes a stronger emotional impact than she had made in films up to that time. Somehow Lang was able to draw out of her an appealing warmth which had escaped her previous directors. Her Cockney accent is perfectly serviceable, especially by contemporary Hollywood standards.
Typical of Lang, the set pieces and the camera-work that takes place within them are stunning, from a spooky and forbidding nocturnal London of narrow streets and wet cobblestones to an extended sequence in the claustrophobic and crowded passageways of the London Underground, with a gorgeous, frenzied, chiaroscuro climax. There are so many superlative visual moments in this film that it's pointless to list them. I can only recommend the film highly to anyone interested in masterful shot compositions. Anyone familiar with Hitchcock's SABOTEUR, made around the same time, will see multiple parallels not only in plot and situation but in an environment bursting with booby traps and evildoers lurking around every corner.
I would be tempted to argue that this is Walter Pidgeon's finest work but I haven't seen everything he's done. Fritz Lang certainly got an uncharacteristically passionate performance out of him, especially in the final scenes. As the prostitute who gets caught up in his intrigues Joan Bennett makes a stronger emotional impact than she had made in films up to that time. Somehow Lang was able to draw out of her an appealing warmth which had escaped her previous directors. Her Cockney accent is perfectly serviceable, especially by contemporary Hollywood standards.
Typical of Lang, the set pieces and the camera-work that takes place within them are stunning, from a spooky and forbidding nocturnal London of narrow streets and wet cobblestones to an extended sequence in the claustrophobic and crowded passageways of the London Underground, with a gorgeous, frenzied, chiaroscuro climax. There are so many superlative visual moments in this film that it's pointless to list them. I can only recommend the film highly to anyone interested in masterful shot compositions. Anyone familiar with Hitchcock's SABOTEUR, made around the same time, will see multiple parallels not only in plot and situation but in an environment bursting with booby traps and evildoers lurking around every corner.
Plot to kill Hitler
ctrebla21 March 2007
I am 54 years old and viewed this film in film history class back in 1975 on a 16 mm print. Man Hunt made a great impression on me and continues to have fond memories of Walter Pidgeon's performance and discovered other great actors for the first time. I had the opportunity to see it that one time, I think Fritz Lang put his heart and soul into this film. It is beyond me how this film has not yet become available on DVD. It has been over 30 years since then and I continue to look for it on the internet to purchase. It reminds me of the excitement that I just discovered in the movie The Big Clock, at least that's on DVD! I want that excitement again, Please give us Man Hunt on DVD!
Fine example of why Lang is the equal of Hitchcock.
st-shot4 February 2010
Fritz Lang's Man Hunt is a remarkable achievement in visual suspense and editing. Lang sustains tension throughout by creating a series of plausible hurdles for the protagonist to deal with giving the viewer little time to catch their breath as he is hunted by the Gestapo from Germany to London.
British officer and renowned big game hunter Alan Thorndike (Walter Pidgeon)literally sets his rifle's sight on Hitler at Berchtesgarten but is foiled by security then tortured by the Gestapo to sign a confession. When he refuses they throw him off of a cliff to cover-up but his fall is broken and he manages to escape back to England on a tramp steamer where Nazi agents (England and Germany were not at war at the moment)continue to pursue him. Enlisting the assistance of a cockney streetwalker (Joan Bennett) he eludes their grasp until cornered in a cave.
Fritz Lang's complete command of the medium in Man Hunt is a master class in film-making. Timing, atmosphere, mise en scene, use of sound and editing deftly create a realistic world that morphs into Kafkaesque nightmare of unrelenting tension and suspense.
Pidgeon's Thorndike has a clumsy James Bond like quality and charm about him as he parries with head nemesis George Sanders Gestapo chief. Sanders is a fascinating villain displaying a fluent bi-lingual authority (another testament to Lang's superb ability at visual story telling) checkmating Thorndike continuously.
Within in this suspenseful framework Lang manages to comment on the English class system, hunting ethics, the enemy within and the need for US involvement in fighting Fascism without missing a beat. The score does some arm twisting but doesn't interfere too much with Lang's magnificent construction and follow through. Man Hunt is precision suspense film making at its best.
British officer and renowned big game hunter Alan Thorndike (Walter Pidgeon)literally sets his rifle's sight on Hitler at Berchtesgarten but is foiled by security then tortured by the Gestapo to sign a confession. When he refuses they throw him off of a cliff to cover-up but his fall is broken and he manages to escape back to England on a tramp steamer where Nazi agents (England and Germany were not at war at the moment)continue to pursue him. Enlisting the assistance of a cockney streetwalker (Joan Bennett) he eludes their grasp until cornered in a cave.
Fritz Lang's complete command of the medium in Man Hunt is a master class in film-making. Timing, atmosphere, mise en scene, use of sound and editing deftly create a realistic world that morphs into Kafkaesque nightmare of unrelenting tension and suspense.
Pidgeon's Thorndike has a clumsy James Bond like quality and charm about him as he parries with head nemesis George Sanders Gestapo chief. Sanders is a fascinating villain displaying a fluent bi-lingual authority (another testament to Lang's superb ability at visual story telling) checkmating Thorndike continuously.
Within in this suspenseful framework Lang manages to comment on the English class system, hunting ethics, the enemy within and the need for US involvement in fighting Fascism without missing a beat. The score does some arm twisting but doesn't interfere too much with Lang's magnificent construction and follow through. Man Hunt is precision suspense film making at its best.
A fine adaptation
Leofwine_draca2 June 2021
Warning: Spoilers
A good thriller in the Hollywood mould, courtesy of Fritz Lang. The story is an adaptation of the Geoffrey Household novel ROGUE MALE with the assassinating Hitler storyline made much more explicit. It was novel for me to see Walter Pidgeon as the lead, given I'm used to him in roles like the one in FORBIDDEN PLANET, while George Sanders plays against type as a Nazi villain and Joan Bennett (who I know best from her much later role in DARK SHADOWS) has a Cockney accent, which is a real surprise. John Carradine shows up too in a highly entertaining supporting role. The film follows the same kind of chase/wronged man plot as a Hitchcock movie - SABOTEUR sprung instantly to mind - and has plenty of suspense and action to recommend it.
A WW II Treasure
lange-frank13 May 2003
I just saw this film on the Fox Movie Channel (DirecTV Satellite, 9 p.m., May 12th) and enjoyed it immensely! As a big WW II movie fan, I'm surprised I hadn't seen it before. Several things struck me about it: Walter Pidgeon's devil-may-care performance, George Saunder's excellent portrayal of the Gestapo leader, and John Carradine's eminently creepy role as the Gestapo agent sent to London to track his prey.
Also interesting were the surprisingly eloquent characterizations of Hitler's regime by the characters. Rather than the usual, emotional propaganda-driven exhortations prevalent in war movies at the time, the writing seemed to make an effort to take a higher, more articulate stab at the regime and those who blindly followed it. The writing overall is superb, as is the direction by Fritz Lang. Even the almost overdone ending matches the story perfectly and leaves us wanting more. I'm surprised they didn't make a serial about it throughout the remainder of the war!
This is a classic, classic WW II propaganda piece that was suspensefull, engaging and a joy to watch. If I could get it in ANY format, it would be a permanent fixture of my collection. If you find it, record it!
Also interesting were the surprisingly eloquent characterizations of Hitler's regime by the characters. Rather than the usual, emotional propaganda-driven exhortations prevalent in war movies at the time, the writing seemed to make an effort to take a higher, more articulate stab at the regime and those who blindly followed it. The writing overall is superb, as is the direction by Fritz Lang. Even the almost overdone ending matches the story perfectly and leaves us wanting more. I'm surprised they didn't make a serial about it throughout the remainder of the war!
This is a classic, classic WW II propaganda piece that was suspensefull, engaging and a joy to watch. If I could get it in ANY format, it would be a permanent fixture of my collection. If you find it, record it!
Effective WWII thriller directed by Fritz Lang...*****Possible Spoilers Ahead*****
Doylenf1 September 2009
Warning: Spoilers
If you like atmospheric B&W film noirs from the '40s dealing with the Nazi threat, look no further than MAN HUNT.
WALTER PIDGEON plays a big-game hunter who fixes on stalking no less a prey than Adolph Hitler. However, it's this first scene that is most vexing--because he's stalking his prey with empty chambers in his gun. Then, as Hitler comes perfectly into view through his finder, he changes his mind and decides to shoot to kill. Inexplicable behavior, since later on in the film he confesses that he DID set out to shoot the Fuhrer, not just play the stalking game. He's too late in firing the gun because he's overtaken by a Nazi officer.
Pidgeon plays a cat-and-mouse game with monocled Nazi GEORGE SANDERS, who decides to let him go, even though Pidgeon refuses to sign a confession that he attempted to kill Hitler on assignment from the British government. He sets him free in the Bavarian forest and from then on it becomes a tale of pursuit as Sanders and other henchman are intent on tracking him down for the kill. Sanders reveals that he's a big-game hunter too.
Along the way, Pidgeon runs into JOAN BENNETT (a girl of the streets with a heart of gold), whom Lang manages to direct skillfully despite an occasional lapse of Cockney accent. RODDY McDOWALL turns up as a as a helpful cabin boy who helps Pidgeon escape detection and JOHN CARRADINE is the sword-cane man who stays hot on Pidgeon's heels.
A very effective London underground chase showing railroad trains and tunnels is well staged and recreated among the shadowy interiors of Arthur Miller's fantastic set design. All of the exteriors in London are lit so as to fit extremely well into the film noir environment mirrored in the cobbled streets of foggy London town. Alfred Newman's subtle score increases the tension. The newly minted DVD reveals all of the crisp B&W photography in great detail and adds to the overall effectiveness of the gripping story.
One can quibble with some of the character motivations and the instant attraction of street girl Bennett to Pidgeon's British gentleman, or her willingness to stick closely to him under the strange and dangerous circumstances, but, hey, this is a movie and a darned suspenseful one at that. In this respect, it reminded me of Hitchcock's "The 39 Steps."
One drawback: Sanders never manages to be more than a one-dimensional figure as the monocled Nazi who predicts: "Tomorrow the world." Although fluent in German, he underplays his role with no particular distinction, but it doesn't matter too much because most of the spotlight is on Pidgeon and Bennett.
Wartime propaganda rears its head toward the film's climax, but that's understandable given that America had not yet participated in the war until six months after the film's release. MAN HUNT was intended to arouse interest and knowledge of Germany's criminal tactics and intent.
WALTER PIDGEON plays a big-game hunter who fixes on stalking no less a prey than Adolph Hitler. However, it's this first scene that is most vexing--because he's stalking his prey with empty chambers in his gun. Then, as Hitler comes perfectly into view through his finder, he changes his mind and decides to shoot to kill. Inexplicable behavior, since later on in the film he confesses that he DID set out to shoot the Fuhrer, not just play the stalking game. He's too late in firing the gun because he's overtaken by a Nazi officer.
Pidgeon plays a cat-and-mouse game with monocled Nazi GEORGE SANDERS, who decides to let him go, even though Pidgeon refuses to sign a confession that he attempted to kill Hitler on assignment from the British government. He sets him free in the Bavarian forest and from then on it becomes a tale of pursuit as Sanders and other henchman are intent on tracking him down for the kill. Sanders reveals that he's a big-game hunter too.
Along the way, Pidgeon runs into JOAN BENNETT (a girl of the streets with a heart of gold), whom Lang manages to direct skillfully despite an occasional lapse of Cockney accent. RODDY McDOWALL turns up as a as a helpful cabin boy who helps Pidgeon escape detection and JOHN CARRADINE is the sword-cane man who stays hot on Pidgeon's heels.
A very effective London underground chase showing railroad trains and tunnels is well staged and recreated among the shadowy interiors of Arthur Miller's fantastic set design. All of the exteriors in London are lit so as to fit extremely well into the film noir environment mirrored in the cobbled streets of foggy London town. Alfred Newman's subtle score increases the tension. The newly minted DVD reveals all of the crisp B&W photography in great detail and adds to the overall effectiveness of the gripping story.
One can quibble with some of the character motivations and the instant attraction of street girl Bennett to Pidgeon's British gentleman, or her willingness to stick closely to him under the strange and dangerous circumstances, but, hey, this is a movie and a darned suspenseful one at that. In this respect, it reminded me of Hitchcock's "The 39 Steps."
One drawback: Sanders never manages to be more than a one-dimensional figure as the monocled Nazi who predicts: "Tomorrow the world." Although fluent in German, he underplays his role with no particular distinction, but it doesn't matter too much because most of the spotlight is on Pidgeon and Bennett.
Wartime propaganda rears its head toward the film's climax, but that's understandable given that America had not yet participated in the war until six months after the film's release. MAN HUNT was intended to arouse interest and knowledge of Germany's criminal tactics and intent.
An intelligent and absorbing WWII thriller.
Hey_Sweden2 March 2014
Captain Alan Thorndike (Walter Pidgeon) is captured by the Nazis after having been caught aiming a rifle at Adolf Hitler. He insists that he wasn't consciously making an assassination attempt, that he was merely a hunter relishing the prospect of taking down "big game". They naturally don't believe him, and try to make him a sign a "confession" that he was acting on behalf of his government. He refuses to sign his name to a lie, and they proceed to torture him and set him up for execution, but he escapes. Soon he makes it back to London, but they continue to pursue him on his home turf. Fortunately, he receives the help of a street waif, Jerry Stokes (Joan Bennett), who quickly overcomes her distrust and becomes quite taken with him. He tries not to put her in harms' way while evading sinister Nazi officials such as the well-spoken Major Quive-Smith (George Sanders).
Fritz Langs' wartime film, based on the story by Geoffrey Household, may not suit all tastes because it doesn't actually have a sense of urgency, at least not all the time. It even gets lighthearted and romantic at times, as Alan and Jerry start hitting it off. There still are some wonderfully moody moments, such as Alan managing to sneak onto a ship (where a precocious lad, well played by a very young Roddy McDowall, helps to hide him), and the sequence where a Gestapo thug portrayed by an effectively creepy John Carradine tails Alan into a subway tunnel. You do worry for the safety of Alan, especially when the odds are so stacked against him. Pidgeon does indeed have an interesting "devil may care" quality to him at times, and he and the lovely Bennett do have nice chemistry. Ms. Bennett is appealing playing a "common" type of gal who relishes in the comfort of a mansion at one point. Sanders is excellent, delivering just the right amount of quiet, refined menace.
Langs' direction keeps you riveted, especially in the opening few minutes where very little dialogue is spoken. The material may strike some viewers as far-fetched, but in his hands it makes for stylish entertainment.
Eight out of 10.
Fritz Langs' wartime film, based on the story by Geoffrey Household, may not suit all tastes because it doesn't actually have a sense of urgency, at least not all the time. It even gets lighthearted and romantic at times, as Alan and Jerry start hitting it off. There still are some wonderfully moody moments, such as Alan managing to sneak onto a ship (where a precocious lad, well played by a very young Roddy McDowall, helps to hide him), and the sequence where a Gestapo thug portrayed by an effectively creepy John Carradine tails Alan into a subway tunnel. You do worry for the safety of Alan, especially when the odds are so stacked against him. Pidgeon does indeed have an interesting "devil may care" quality to him at times, and he and the lovely Bennett do have nice chemistry. Ms. Bennett is appealing playing a "common" type of gal who relishes in the comfort of a mansion at one point. Sanders is excellent, delivering just the right amount of quiet, refined menace.
Langs' direction keeps you riveted, especially in the opening few minutes where very little dialogue is spoken. The material may strike some viewers as far-fetched, but in his hands it makes for stylish entertainment.
Eight out of 10.
Gripping propaganda film by maestro Lang
funkyfry17 September 2014
Warning: Spoilers
This film wastes no time getting started -- no speeches, no anthems, no introduction. We simply see a man (Walter Pidgeon) maneuvering between Nazis in some forested region. When he finally reaches the cliff, his destination, we see him expertly assemble a scope rifle and train its cross-hairs on Der Fuhrer himself. One can just about hear the 1941 audience shouting at the screen, "Pull the trigger! Pull the trigger!" Something goes wrong, of course, and our aristocratic hero spends the rest of the film on the run from nefarious Nazis led by George Sanders and John Carradine.
Pidgeon is unusually animated in this film, and there are a lot of reaction shots of him which bear a similarity to Lang's work with Spencer Tracy (they hated each other) in his American masterpiece "Fury." Carradine and Sanders are suitably nasty, a lot of fun too watch (too much fun? perhaps that's a debate for another day). Joan Bennett shows up as a prostitute who falls for Pidgeon's man on the lam, exposing herself to fatal danger in order to help him and win his heart in return. Her accent is terrible but her performance is passable.
Lang handles the suspense of the chase scenes around foggy London-town with great skill and style. The only real problem that I had with the film was in a lot of the dialog between Pidgeon and Bennett; Pidgeon always has a sort of paternal edge, but in this case it is more of a patronizing razor's edge. Hilariously, Bennett bursts into tears when Pidgeon chooses the couch over her bed, and Pidgeon holds her head and calls her a "poor, dear little child", or words greatly to that effect. There are a lot of those scenes. Certainly we're missing the vital and overtly sexual Bennett of later collaborations such as the infamous "Scarlet Street." In the Lang world, Bennett must either play a saintly whore or a predatory whore, and no room in between for argument or confusion.
The climax becomes a little bit weird, but the film deserves props for actually allowing the Bennett character to die. The fact that her death, as well as the torture scenes involving Pidgeon earlier in the film, are shown strictly off-screen, may represent a compromise between producer Zanuck and Joe Breen's office, which was extremely cautious about anti-Nazi propaganda prior to the official U.S. entry into WWII. This is a significant film in the development of U.S. propaganda -- recent refugee Lang wants to pull no punches, but in retrospect (or compared to his later "Hangmen Also Die") the film's treatment of Nazi villains is almost light-handed, Hollywood villain-ish.
Note, by the way, how Lang manages to get Sanders' monocle and the glasses of several other German spies to gleam menacingly in the scarce lighting -- Spielberg would later use this effect in his nostalgically anti-Nazi films. Considering how much attention Lang paid to his own monocle, it's hardly an accident or a casual effect.
I was interested in the scene where Bennett and Pidgeon go into a jeweler's shop to buy her a hat-pin (the fatal hat-pin, as it turns out). After entering, the distinctly Jewish-looking shopkeeper speaks to them with a heavy German accent, and Pidgeon and Bennett's characters are visibly disturbed for a moment, then continue on with the purchase. This man may have been a refugee from the Nazis, but his accent makes him momentarily suspect. I believe Lang probably included this brief bit of business as a way of expressing his own frustration with the racism that was inevitably being directed towards German émigrés during the propaganda-heavy times leading up to the conflict.
Pidgeon is unusually animated in this film, and there are a lot of reaction shots of him which bear a similarity to Lang's work with Spencer Tracy (they hated each other) in his American masterpiece "Fury." Carradine and Sanders are suitably nasty, a lot of fun too watch (too much fun? perhaps that's a debate for another day). Joan Bennett shows up as a prostitute who falls for Pidgeon's man on the lam, exposing herself to fatal danger in order to help him and win his heart in return. Her accent is terrible but her performance is passable.
Lang handles the suspense of the chase scenes around foggy London-town with great skill and style. The only real problem that I had with the film was in a lot of the dialog between Pidgeon and Bennett; Pidgeon always has a sort of paternal edge, but in this case it is more of a patronizing razor's edge. Hilariously, Bennett bursts into tears when Pidgeon chooses the couch over her bed, and Pidgeon holds her head and calls her a "poor, dear little child", or words greatly to that effect. There are a lot of those scenes. Certainly we're missing the vital and overtly sexual Bennett of later collaborations such as the infamous "Scarlet Street." In the Lang world, Bennett must either play a saintly whore or a predatory whore, and no room in between for argument or confusion.
The climax becomes a little bit weird, but the film deserves props for actually allowing the Bennett character to die. The fact that her death, as well as the torture scenes involving Pidgeon earlier in the film, are shown strictly off-screen, may represent a compromise between producer Zanuck and Joe Breen's office, which was extremely cautious about anti-Nazi propaganda prior to the official U.S. entry into WWII. This is a significant film in the development of U.S. propaganda -- recent refugee Lang wants to pull no punches, but in retrospect (or compared to his later "Hangmen Also Die") the film's treatment of Nazi villains is almost light-handed, Hollywood villain-ish.
Note, by the way, how Lang manages to get Sanders' monocle and the glasses of several other German spies to gleam menacingly in the scarce lighting -- Spielberg would later use this effect in his nostalgically anti-Nazi films. Considering how much attention Lang paid to his own monocle, it's hardly an accident or a casual effect.
I was interested in the scene where Bennett and Pidgeon go into a jeweler's shop to buy her a hat-pin (the fatal hat-pin, as it turns out). After entering, the distinctly Jewish-looking shopkeeper speaks to them with a heavy German accent, and Pidgeon and Bennett's characters are visibly disturbed for a moment, then continue on with the purchase. This man may have been a refugee from the Nazis, but his accent makes him momentarily suspect. I believe Lang probably included this brief bit of business as a way of expressing his own frustration with the racism that was inevitably being directed towards German émigrés during the propaganda-heavy times leading up to the conflict.
Not In the Same League
marcolm20 August 2010
Warning: Spoilers
I regret that I'm compelled to swim against the current stream of love being shown by most IMDb reviewers for this movie. I love this genre of movie. But this film, in my opinion, just doesn't make the grade. For the most part the cast is good...love Carradine, McDowell and even the one dimensional Sanders but, Walter Pidgeon and Joan Bennett just don't have any chemistry and don't compare with the likes of the Robert Donat/Madeleine Carol (39 Steps), Rex Harrison/Margaret Lockwood (Night Train to Munich)or Michael Redgrave/Margaret Lockwood (Lady Vanishes). And Joan's effort at a Cockney accent was lame. I watched this movie for the first time last night on TCM and, after reading all the scintillating reviews at IMDb, was expecting a minor classic. However, I'm sorry to say that for me the Fritz Lang mystique does not overcome what I consider to be a rather plodding- dull effort. That's why I say it's not in the same league as 39 Steps, Lady Vanishes nor Night Train to Munich.
Joan - As Straight As An Arrow
howardmorley10 October 2010
Let's get the niggles out of the way first.We (I am a 64 year old Londoner) were fully occupied in early 1941 fighting WWII and most of our native born film actors were contributing to the war effort. Nevertheless, there were other ex pat. British born talented actors in Hollywood who could have taken the role, (played by Walter Pidgeon), and spoken with an authentic British accent.This actor similarly grated on my British sensibilities when he played "Mr Miniver" a British architect in the 1942 film with Greer Garson.It is not enough to speak the same language, one has to have the right accent for the part.Second gripe, the person responsible for designing the set of The London Underground, got the design wrong of the tube trains and how the doors closed.Worst of all the track clearly only showed three rails, when in fact there are four (two providing electric feed and two for the wheels).Also very unauthentic cars of the time and too many other studio interior shots.Any German fifth columnist like the character played by John Carradine would have stood out like a sore thumb to us Londoners in 1941, yet due to the almost total absence of authentic London actor extras, (could have been played by US personnel), there seemed to be more German agents than locals, and this in one of the most populous capital cities in the world!!Most film companies , like 20th Century Fox, hold stock footage of capital cities like London which could have been run in back projection to provide a more authentic backdrop to scenes, especially in war time.
Now for the good marks.I was amazed to hear George Sanders speaking German in the right places, presumably German refugee Fritz Lang had given him some lessons.Whenever I see Joan Bennett in 1940s films, physically I see a cross between Hedy Lamarr and Vivien Leigh.I have two other films of her in my collection "Secreto Tras la Puerta" with Michael Redgrave and "The Girl in the Window" with Edward G. Robinson. Now Viv would have been good in the role but probably had other film commitments e.g. "Waterloo Bridge" with Robert Taylor.However, Joan Bennett gave a passable attempt at a cockney accent and in mannerisms in the style of "Eliza Doolittle".The original magazine from which the screenplay was lifted had her part as a prostitute but of course "The Code" meant she had to be shown to do something else.However I was gratified to see an obvious clue to her real profession in the scene on the bridge when a London policeman asks Joan not to bother Walter with propositions.I appreciated the authentic close up shots of the sniper rifle, made by "Holland & Holland" London and the binoculars bought from "Harrods" store in Knightsbridge.The extras on the DVD I bought about Fritz Lang were illuminating about how he was asked to become chief propaganda film maker for the Third Reich under Josef Goebbels and how he left all his money and property and fled from Germany to France and thence to Hollywood.The Neutrality Act precluded the U.S.A from showing overt favouritism to warring countries yet Fritz Lang and his producer created a piece of film propaganda with "Man Hunt" to convince America that political neutrality was no longer an option.
Now for the good marks.I was amazed to hear George Sanders speaking German in the right places, presumably German refugee Fritz Lang had given him some lessons.Whenever I see Joan Bennett in 1940s films, physically I see a cross between Hedy Lamarr and Vivien Leigh.I have two other films of her in my collection "Secreto Tras la Puerta" with Michael Redgrave and "The Girl in the Window" with Edward G. Robinson. Now Viv would have been good in the role but probably had other film commitments e.g. "Waterloo Bridge" with Robert Taylor.However, Joan Bennett gave a passable attempt at a cockney accent and in mannerisms in the style of "Eliza Doolittle".The original magazine from which the screenplay was lifted had her part as a prostitute but of course "The Code" meant she had to be shown to do something else.However I was gratified to see an obvious clue to her real profession in the scene on the bridge when a London policeman asks Joan not to bother Walter with propositions.I appreciated the authentic close up shots of the sniper rifle, made by "Holland & Holland" London and the binoculars bought from "Harrods" store in Knightsbridge.The extras on the DVD I bought about Fritz Lang were illuminating about how he was asked to become chief propaganda film maker for the Third Reich under Josef Goebbels and how he left all his money and property and fled from Germany to France and thence to Hollywood.The Neutrality Act precluded the U.S.A from showing overt favouritism to warring countries yet Fritz Lang and his producer created a piece of film propaganda with "Man Hunt" to convince America that political neutrality was no longer an option.
Great film even after almost 70 years.
gary-2246 January 2001
I was only seven years old when I first viewed this film and never forgot it. I have been seeing several of the scenes in my minds eye for the last seventy years or so. The scenes I remembered for so long included the the beginning ones involving Hitler, the part on the London Underground and the finale. Now that Man Hunt is out on DVD, everyone can view and enjoy it. It's even better than I thought with a marvelous cast such as Roddy McDowell who went on to make almost 500 more films. The black and white photography, especially the scenes depicting London at night and in fog are extremely well done. This is the only Fritz Lang film that ever saw. Maybe I should look into his other ones. Another surprise was the main song played as a background theme with the scenes in London. This song "A Nightingale Sang In Berkeley Square," has allows been one of my favorite WWII songs. You can hear as sung by Vera Lynn, by typing in the title in Google and clicking the U-tube location.
very good propaganda film
blanche-216 February 2008
Warning: Spoilers
Walter Pidgeon is the subject of a "Man Hunt" in this 1941 film directed by Fritz Lang. Joan Bennett, George Sanders, John Carradine and Roddy McDowell also star. Alan Thorndike (Pidgeon) is caught by the Nazis as he prepares to shoot Hitler. After he is worked over and denies it was anything but a "sporting stalk" to see if it were actually possible to shoot the Fuhrer, the head man (Sanders) demands that he sign a document stating that he tried to shoot Hitler at the request of the German government. As a reward, they'll let him live. Thorndike won't sign, and his reward for that is being thrown off of a cliff and left for dead. He survives and makes his way onto a ship, where he is helped by a young boy (McDowell). However, there is a suspicious and too curious man on the ship (Carradine). Once in London, Thorndike realizes he is being followed and gets into the apartment of Jerry Stokes (Bennett) who helps him. Eventually he escapes to a small town, only to find out he's still being hunted.
This is an exciting and suspenseful film with good performances by Pidgeon, who doesn't try a British accent, and Bennett, who sports a Cockney one. Boy, Lang must have loved her. She was certainly perfect for the roles he cast her in. Here she's her usual low-class self but instead of being rotten as in "Scarlet Street" and "Woman in the Window," she has a heart of gold and falls for Alan.
Some of this movie is predictable, but one really roots for Thorndike, and the denouement is quite original. I have a quibble with the film - Alan should have realized that he had put Jerry in danger and taken her to his brother's. To me it was a big hole in the script and a deliberate one.
Though released in 1941, the story takes place probably right at the beginning of the war, so we can see what the next years bring. Nothing good, that's for sure.
This is an exciting and suspenseful film with good performances by Pidgeon, who doesn't try a British accent, and Bennett, who sports a Cockney one. Boy, Lang must have loved her. She was certainly perfect for the roles he cast her in. Here she's her usual low-class self but instead of being rotten as in "Scarlet Street" and "Woman in the Window," she has a heart of gold and falls for Alan.
Some of this movie is predictable, but one really roots for Thorndike, and the denouement is quite original. I have a quibble with the film - Alan should have realized that he had put Jerry in danger and taken her to his brother's. To me it was a big hole in the script and a deliberate one.
Though released in 1941, the story takes place probably right at the beginning of the war, so we can see what the next years bring. Nothing good, that's for sure.
A Fugitive from the Law of Averages
jzappa3 November 2009
Fritz Lang loved to leave one's heart in one's throat with his story about how, in the 1930s, Adolf Hitler ordered him for a meeting. The Fuhrer had seen Metropolis and wanted Lang to be an official Reich filmmaker. Lang said, "Oh well yeah sure of course," and then fled the country as fast as he could, not even stopping to withdraw his bank account. In Hollywood soon after, Lang had a little window to clear the air with this dramatic thriller.
I know it seems like the plot is best withheld once you read as far as that a British hunter happens to all the sudden have Hitler in his crosshairs. I won't tell you anything more about that situation. But I will say the film is episodic. There is a chapter involving Roddy McDowell aiding and abetting, and another concerning a cockney streetwalker played by Lang regular Joan Bennett who very quickly falls in love with him, although the context and situation allow a more sensible reason for there to be an easy token love subplot than usual. The hero is played by Walter Pidgeon, a refreshing actor of the studio era owing to his guilelessness, his lack of any affectation, though it grows bothersome that he appears as a well-to-do Englishman with an inexplicable American accent.
The film's lasting issues crop up simply because of the fact that it was 1941. There are several moments where you will be absorbed in Fritz Lang's trademark approach wherein points on social evils and multi-faceted subtext sneak up on you, but other moments don the guise of a zealous, conventional pro-war film, but luckily, that assault on the Lang's ominous omniscience mostly ushers in during the final few minutes. For the most part, this underdog war picture, which the Hays Office claimed in the time and place's atmosphere which avoided entangled alliances and controlled any cultural exchange, showed all Germans as evil as opposed to other films showing both good non-Nazi Germans as well as evil National Socialists, is a very carefully laid, continuously ambushing and expertly played bit of watchful waiting.
I know it seems like the plot is best withheld once you read as far as that a British hunter happens to all the sudden have Hitler in his crosshairs. I won't tell you anything more about that situation. But I will say the film is episodic. There is a chapter involving Roddy McDowell aiding and abetting, and another concerning a cockney streetwalker played by Lang regular Joan Bennett who very quickly falls in love with him, although the context and situation allow a more sensible reason for there to be an easy token love subplot than usual. The hero is played by Walter Pidgeon, a refreshing actor of the studio era owing to his guilelessness, his lack of any affectation, though it grows bothersome that he appears as a well-to-do Englishman with an inexplicable American accent.
The film's lasting issues crop up simply because of the fact that it was 1941. There are several moments where you will be absorbed in Fritz Lang's trademark approach wherein points on social evils and multi-faceted subtext sneak up on you, but other moments don the guise of a zealous, conventional pro-war film, but luckily, that assault on the Lang's ominous omniscience mostly ushers in during the final few minutes. For the most part, this underdog war picture, which the Hays Office claimed in the time and place's atmosphere which avoided entangled alliances and controlled any cultural exchange, showed all Germans as evil as opposed to other films showing both good non-Nazi Germans as well as evil National Socialists, is a very carefully laid, continuously ambushing and expertly played bit of watchful waiting.
Fritz Lang's Anti-Nazi saga to glorify British blood. Not just a man-hunt but a hunt of tyranny practically and subconsciously.
SAMTHEBESTEST24 January 2022
Man Hunt (1941) :
Brief Review -
Fritz Lang's Anti-Nazi saga to glorify British blood. Not just a man-hunt but a hunt of tyranny practically and subconsciously. Man Hunt starring Walter Pigeon was one of those Anti-Nazi films made by master Fritz Lang which was so pro-british yet universal. The reason is obvious, Hitler. Many nations united against him and so it doesn't matter if you're an American (since it's an American film), you sympathize with British blood. One more thing is the timing of this film. It was 1941, and the story is set just prior to World War 2. British hunter Thorndike vacationing in Bavaria has Hitler in his gun sight. He is captured, tortured, beaten, left for dead, but somehow survives and escapes back to London where he is hounded by German agents and aided by a young woman. He plans to go to Africa until this war thing settles but is again traced. What happens to him at last is all that forms the conclusion of this long ManHunt. Walter Pidgeon is so stylish as a British hunter yet so kind and lovable. No arrogance, no cowardice, not even a womanizer and above all a patriot. He keeps denying that he ever intended to kill Hitler (even if you wish he should have), but then his subconscious mind somewhere knew the reality behind it. It comes out by the end and at the right time too. Walter's accent, attitude and performance suit the menu card. Joan Bennett looks damn gorgeous. I wonder how can this girl look so gorgeous and cute at the same time and then i remember some of her Femme Fatale roles from the 40s to realize how versatile she was. In "Man Hunt", she comes with an Accent, cuteness, adorable expressions and lovely characterization. I don't know what Fritz Lang's personal rivalry was but his films show that anger against Hitler. Overall, it may not make it into my top 10 films of Fritz Lang, but it is a nice film with a good motive, fine performances and socially relatable topic.
RATING - 7/10*
By - #samthebestest.
Fritz Lang's Anti-Nazi saga to glorify British blood. Not just a man-hunt but a hunt of tyranny practically and subconsciously. Man Hunt starring Walter Pigeon was one of those Anti-Nazi films made by master Fritz Lang which was so pro-british yet universal. The reason is obvious, Hitler. Many nations united against him and so it doesn't matter if you're an American (since it's an American film), you sympathize with British blood. One more thing is the timing of this film. It was 1941, and the story is set just prior to World War 2. British hunter Thorndike vacationing in Bavaria has Hitler in his gun sight. He is captured, tortured, beaten, left for dead, but somehow survives and escapes back to London where he is hounded by German agents and aided by a young woman. He plans to go to Africa until this war thing settles but is again traced. What happens to him at last is all that forms the conclusion of this long ManHunt. Walter Pidgeon is so stylish as a British hunter yet so kind and lovable. No arrogance, no cowardice, not even a womanizer and above all a patriot. He keeps denying that he ever intended to kill Hitler (even if you wish he should have), but then his subconscious mind somewhere knew the reality behind it. It comes out by the end and at the right time too. Walter's accent, attitude and performance suit the menu card. Joan Bennett looks damn gorgeous. I wonder how can this girl look so gorgeous and cute at the same time and then i remember some of her Femme Fatale roles from the 40s to realize how versatile she was. In "Man Hunt", she comes with an Accent, cuteness, adorable expressions and lovely characterization. I don't know what Fritz Lang's personal rivalry was but his films show that anger against Hitler. Overall, it may not make it into my top 10 films of Fritz Lang, but it is a nice film with a good motive, fine performances and socially relatable topic.
RATING - 7/10*
By - #samthebestest.
Excellent WW2 Thriller
utgard143 May 2014
English hunter Walter Pidgeon is caught by Nazis as he aims his rifle at Hitler. He escapes to London but he's not safe for long as Nazis George Sanders and John Carradine are on his trail. Gripping, exciting WW2 thriller expertly directed by Fritz Lang. One of his best American films. Walter Pidgeon is great. Joan Bennett steals the show as the lively and lovely working class girl who helps him. She was a truly underrated talent. Roddy McDowall is also good in a small part as a boy who is instrumental in helping Pidgeon make it to London. Sanders and Carradine make for great villains. Love the ending. Very cool and fitting.
All aboard the Piccadilly Line
AAdaSC6 May 2011
Walter Pidgeon (Captain Thorndike) is captured trying to assassinate Hitler and somehow escapes back to Britain where he is pursued by a gang of Nazis including George Sanders (Major Quive-Smith). Pidgeon is helped along the way by Roddy McDowell (Vaner) and Joan Bennett (Jerry). However, we eventually get to the confrontation between Sanders and Pidgeon. Can these two men make a deal with each other...?
I enjoyed this film despite the story being a load of nonsense. Thorndike would have just been killed at the beginning of the film. However, the writers manage to contrive a situation so that he can escape. The cast are all likable and this wins over actually being any good. A case in point is Joan Bennett - she puts on a terrible cockney accent but she wins us over coz she's likable and it comes as a shock when we hear about what happens to her. It makes the scene where Bennett and Pidgeon walk away from each other on a foggy London bridge one of the more poignant and memorable scenes of the film. As for Pidgeon, why on earth is he the lead playing an Englishman? It doesn't matter, though coz he's likable and he has a determined character transformation at the end of the film.
The story has some good sequences (eg, the chase on the London Underground and the game of cat and mouse in the cave), but it also drags a bit once the platonic romance is introduced. There is quite a lot of humour during these moments but a real prostitute would have just shagged the guy, taken his money and said goodbye. I'm not wholly convinced as to why she would want to follow him around so much. Overall, it's an entertaining film that is worth seeing again.
I enjoyed this film despite the story being a load of nonsense. Thorndike would have just been killed at the beginning of the film. However, the writers manage to contrive a situation so that he can escape. The cast are all likable and this wins over actually being any good. A case in point is Joan Bennett - she puts on a terrible cockney accent but she wins us over coz she's likable and it comes as a shock when we hear about what happens to her. It makes the scene where Bennett and Pidgeon walk away from each other on a foggy London bridge one of the more poignant and memorable scenes of the film. As for Pidgeon, why on earth is he the lead playing an Englishman? It doesn't matter, though coz he's likable and he has a determined character transformation at the end of the film.
The story has some good sequences (eg, the chase on the London Underground and the game of cat and mouse in the cave), but it also drags a bit once the platonic romance is introduced. There is quite a lot of humour during these moments but a real prostitute would have just shagged the guy, taken his money and said goodbye. I'm not wholly convinced as to why she would want to follow him around so much. Overall, it's an entertaining film that is worth seeing again.
Most enjoyable film
mandjsopher3 March 2000
It's been years since I have seen this movie, but it's one I seem to never have forgotten. I would like to know why TCM or AMC or one of the other movie channels haven't shown it. I keep hoping it will come out on DVD or video. I remember George Saunders being a "great" Nazi agent(great-as far as acting). I also seem to remember a song that was used throughout the movie. If you ever get an opportunity to see this flick, please get the popcorn and soda and run to view.
A film which could have been the greatest thriller of all time
arijit-paul2 October 2011
The movie had all the elements which could have made it one of the greatest thriller of all time. Daring assassination attempt which could lead a continent into a war, thrilling escapades, cunning secret service agents following the trails of the wanted. Lang with his natural brilliance in this genre captivates the audience from the very first scene itself. However, unfortunately the taut suspense that the movie builds slacks through the introduction of the romantic angle in the movie. The romantic interludes slows the pace and acts as a dampener. If the screenplay could have pared these excesses of romantic interludes or could have integrated the same in a better way with the main narration of the film, this film could have become, as I said in the beginning, one of the greatest thrillers of all time.
Surprisingly bad film from such a pedigreed group
HeathCliff-219 June 2009
Essentially a undistinguished B-movie that mysteriously is directed by one of the golden era's major talents, Fritz Lang. Even with the stellar names of Lang, Walter Pidgeon, Joan Bennett and George Sanders, be prepared for a ludicrous storyline, bad acting, patently phony sets and miscasting. For transparency sake, I have to admit I am an ardent non-admirer of Walter Pidgeon, who was lucky to have found a niche at the artificial dream-factory of MGM, and somehow worked in secondary roles, supporting Greer Garson and others. He is wildly miscast, acting in a chipper, '30s-Ray Milland madcap comedy tone, in a role where his life is in danger, and he is in hiding. Joan Bennett's cockney accent is excessive, but her lacquered hair, perfect makeup and classy outfit belies a street-wise Cockney slum-girl. George Sanders is incapable of bad acting, but disappears after the preposterous opening finds Pidgeon somehow pretending to shoot Adolph Hitler. Surprising for Fritz Lang is the unevenness of tone. I found the film wavered uneasily between occasional moments of suspense-thriller surrounded by light-hearted comedic interplay. Hitchcock totally reversed the ratio, using comic relief to occasionally pace the suspense. There is a reason this film is unknown. It didn't serve or propel anybody's career or reputation, and is forgotten because it's a surprisingly bad film from such a pedigreed group.
A Fox & Hound tale for World War Two Buffs.
dmarek110 January 2010
This movie played on Turner Classic Movies recently. I grabbed my attention and kept me fixed to the television to the very end. It has everything you could ask for, in a movie of that era; a noble good guy, evil bad guys and a pretty girl.
A suspenseful game of cat & mouse played out across Europe on the eve of World War II.
It is interesting to compare this movie with 49th Parallel, also released in 1941, except the protagonists are the crew of a German U-Boat, sunk off the coast of Canada, trying to evade capture and sneak into the, (then neutral), United States.
A suspenseful game of cat & mouse played out across Europe on the eve of World War II.
It is interesting to compare this movie with 49th Parallel, also released in 1941, except the protagonists are the crew of a German U-Boat, sunk off the coast of Canada, trying to evade capture and sneak into the, (then neutral), United States.
Trouble with the Germans
Petey-1019 February 2012
It's 1939, a little before the World War II.British captain Alan Thorndike is in Bavaria, when suddenly he gets Adolf Hitler in his gunsight.He doesn't try to kill him, but he gets captured.He gets to flee to London, but he's not safe even there.Man Hunt (1941) is a wartime thriller from Fritz Lang.This was the first of four anti-Nazi pictures of this Jewish director, who fled Germany into exile in the mid 1930's.The movie is based on Geofrey Household's 1939 novel Rogue Male.Walter Pidgeon gives a terrific performance in the lead.Joan Bennett is wonderful as the female lead Jerry.George Sanders makes a great villain as Major Quive-Smith.John Carradine is great as Mr. Jones.Roddy McDowall is marvelous as Vaner.There are many exciting moments in this movie, like the events in the subway tunnel.How the boy helps Alan on the ship is pretty touching.Also the love story portrayed there is really sweet.
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