Ich bin ein Atomspion

This rather curious and open ended film was something that no major studio back then would have taken a chance on. It fell to Ray Milland and independent producer Harry Popkin to get this project finished and released by United Artists.

Without dialog other elements in the film have to carry the story along and two of them are there. The facial expressions of Ray Milland who is on screen for about 90% of the film are marvelous. The second is the Oscar nominated score from Herschel Burke Gilbert. But the third for silent films are those all important titles inserted where needed so you followed the story where the writer and director wanted to go.

Those titles might have explained Milland's motivations for what he was doing as a scientist who is doubling as a spy. Whatever they were the anguish on Milland's face told you this was not something he was doing willingly. As The Thief was made in 1952 at the height of the Cold War there were certain parameters in how the story had to end and they were followed.

Some things need no dialog however. Rita Gam made her film debut as a slinky and sexy woman in the next apartment. Those looks she gives to Milland and that sexy body language need no words.

The Thief is an interesting and somewhat entertaining film from Milland which while it doesn't succeed totally is still something to be checked out.

This is a pretty ambitious noir film that dared to tell its story without a single line of dialogue. It's plot is a bit hokey: a nuclear scientist who had agreed to pass on information to a fiendish band of communists (are there any other kind?) has second thoughts and must allude himself from their grasp. The film combines a wonderful mix of claustrophobic scenes of tension where our (anti)hero holes himself up in a small room while the phone rings menacingly (conjuring memories of Milland's brush with fear and paranoia in THE LOST WEEKEND), and terrific cat-and-mouse chase scenes that are truly Hitchcockian, including a climax on the top of the Empire State Building (how come Hitch never came up with that one?). Ray Milland does a terrific job as usual: one can almost hear his thoughts. And the cinematography is some of the most innovative you'll ever see outside an Orson Welles film. Don't get caught up in the idea that this is a 'gimmick' film. This is an innovative film, much in the same vein as some of the most inventive shows in THE TWILIGHT ZONE series. Try to open your mind to a fresh perspective and you won't be disappointed.

THE THIEF (1952) has a fascinating footnote in film history. It is one of the few films with sync sound to be made completely without spoken dialog. It's plot concerns Dr. Allen Fields (Ray Milland) who is selling Government secrets to a foriegn power. He travels from Washington DC to Manhattan to deliver top secret documents. He doesn't know he is being followed by FBI Agents. There is innovative use of sound effects (The Washington DC ambiance is very different from the NYC ambiance) There are three human sounds in the film- two blood-curdling screams, and in a powerful finale scene, acted brillantly by Milland, a guilt ridden cry of anquish. The film did poor box office, as is the case with most gimmick films. These films fascinate cine-philes, but don't do a thing for Mr. and Mrs. Moviegoer. It's poor box office makes this well made thriller hard to catch. It is a shame.

This film is notable for not containing a single word of dialogue. Ray Milland plays a U.S. scientist who suffers a crisis of conscience while selling secrets to the Soviets. Partners Greene and Rouse made several very challenging films in the 50s, none more so than this. It's an exercise in "pure" cinema, aided immensely by the creative scoring of Herschell Burke Gilbert. Its fascinating to see a famed Hollywood actor play a role silently

The noir cycle generated many curios but none odder than this. Russell Rouse (who had just done D.O.A.) decided to direct an espionage drama that falls just short of 90 minutes without containing a single word of dialogue. It's not silent, however: footsteps echo on the cobblestones of Georgetown and the floors of the Library of Congress, cameras click over hush-hush documents at the Atomic Energy Commission, telephones ring (but are never answered). There's also a good score. The espionage concerns thermonuclear secrets, so this film would fall into the sub-category of the Anti-Commie propaganda film, except for the fact that the lack of words allows for no preaching; the skullduggery is all but abstract. And the silence can be seen as expressing the deep, deep underground of the cold-war spy. Questions remain: Ray Milland always does well with this sort of recessive, basically self-loathing character, but why engage an actor with such a distinctive voice to keep his trap shut? And Rita Gam, in her screen debut, has little to do but strike any number of provocative poses and suck sultrily on her cigarette (the "temptation" she poses to Milland is never resolved). The Thief has enough going for it to keep one's attention, but it's an experiment that would have been more welcome had 15 or 20 minutes been shorn off its running time.