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Magazine editor Albert Dekker assigns journalist Gregory Peck to write an article about anti-Semitism and, after much sturm und drang, Peck figures on an angle, pretending to be Jewish, although it puts a strain on fiance Dorothy McGuire. First, he explains the subject to his cute little boy, Dean Stockwell, a good stand-in for the general audience. The message is clearly stated. In the wake of revelations about Nazi Germany and the burgeoning civil rights movement, it is certainly topical. Director Elia Kazan won one of the three Oscars, out of eight nominations, getting fine performances from the principals as well as those in support. Unfortunately, there was no sequel in which Dekker tasks Peck with writing an article about homosexuality.

Many movies were made in the early 1940s to demonstrate "why we fight" and that an isolationist foreign policy was not acceptable. After a beginning his career in Hungary, Andre de Toth completed the troika of great one-eyed Hollywood directors (John Ford, Raoul Walsh) with this first US feature, based on a script by soon to be blacklisted writer Lester Cole and starring soon to be blacklisted Marsha Hunt. It details the rise of a psychopathic Nazi to military authority (Alexander Knox), a story told largely in flashbacks, during a trial. Perhaps it inspired Stanley Kramer's very talky, "Judgment at Nuremberg" (1961). Beautiful Dorothy Morris has the ingenue role.

Soft-spoken, unpretentious Audie Murphy stars in this biopic of John P. Clum, an Agent on an Apache Reservation in 1874. Disgusted by the practice of taking Apache scalps for bounty, he is challenged with the task of changing whole cultures and exhibits equal courage, integrity and wit, when facing down both the Indians and the Army. The script is necessarily episodic, but dramatic tension is sustained when the Chief (Robert Warwick) assigns a recently widowed young squaw (Anne Bancroft) to look after him. Native American actors serve mostly as background atmosphere, until Jay Silverheels appears and does much more acting than he ever did as "Tonto," the Lone Ranger's sidekick. It's a plodding, but very handsome production in Technicolor and Cinemascope.