Nubes negras

A communist spy ring infiltrates the top secret Lakeview Laboratory of Nuclear Physics. Dedicated FBI agent Daniel F. O'Hara works late into the night. He receives a call from fellow agent Jimmy Colton who is murdered before he could reveal his info about Lakeview. He is joined by Philip 'Scotty' Grayson from Scotland Yard in the investigation.

It's a G-man noir, standard police procedural. They're all in spiffy suit and tie and wearing their hats. They talk in that hardened police tone. It has the police narration. The plot is a straight investigation with the standard twists and turns. The story is ripped from the headlines. It's a well-made police noir.

A 1948 film noir/police procedural. We're in the midst of the Cold War & American agents are on the hunt for Communist operatives which sets the scene as one of ours sees a wanted agent at a sporting event only to be gunned down (shocking for the time I would imagine as we see blood spatter across the man's face) by Raymond Burr (sporting a very Leninesque goatee). Enter the lead FBI agent, played by Dennis O'Keefe, who tracks the spotted man to San Francisco only to find the man murdered in his room even though the FBI were all over him. When they scour their surveillance footage they come up w/another enemy agent, disguised as a priest (which raised no flags), who spends his days in his apartment painting canvases which O'Keefe figures is the means of transporting information. Enter Louis Hayward, a Scotland Yard agent working the same case from the European side of things & he teams up w/O'Keefe to track down the cabal of enemy agents (the info in question is coming from a scientific collective on the cusp of a breakthrough) when they figure out hidden formulas are embedded on the paintings themselves, they figure one of the group is leaking the info. Very procedural in the extreme (I wouldn't be surprised if some would viewers will drop in the ubiquitous "dun dun" from Law & Order as each scene cuts into the next) but immensely engrossing, keeping you on the edge of your seat w/a satisfying gunfight taking place in a darkened home festooned w/Russia's best trying to win the day.

The film's stark and scrumptious cinematography is why you should watch. George Robinson and Edward Colman do an absolutely fantastic job. Noir fans will appreciate the film's use of shadows to create a tense mood.

The plot will hold your interest: with the help of a U. S. government worker(s) top secret atomic research work is being stolen by a communist spy ring. FBI agents, with the aid of Scotland Yard, work against time to stop the theft.

Louis Hayward plays the Scotland Yard agent and Dennis O'Keefe is his FBI counterpart. The two have chemistry together.

There is a blandness, though, to much of the crime investigation procedural part of the film - which is extensive. There's no love interest for any of the main characters. In fact, there's only one female character in the film and she doesn't have any substantial speaking lines until late in the movie.

WALK A CROOKED MILE is the sort of brisk, documentary style espionage yarn so often made during the '40s, using narration to tell the story of two espionage agents (DENNIS O'KEEFE and LOUIS HAYWARD) assigned to track down whomever is responsible for leaking top secret information developed at a nuclear plant in California.

Most of the action takes place in San Francisco, where O'Keefe and Hayward discover that an artist (ONSLOW STEVENS) is putting coded information beneath his paintings when he receives it from a spy working for the government agency. The story traces how the spy ring operates and it is these details that give the film added interest before the spies are caught. All of the methods must seem dated by today's standards of F.B.I. work, but the manner of presentation is gripping and the clever cat-and-mouse game that is played between the agents and the spies is credible and fascinating.

It's smoothly directed by Gordon Douglas at a fast clip. RAYMOND BURR has his usual "bad guy" role as one of he spies, and LOUISE ALLBRITTON, CARL ESMOND, ART BAKER and CHARLES EVANS all make interesting suspects in the mystery behind the identity of the key traitor.

Well worth viewing.

Well-made political thriller. 1948 is the year Hollywood joined the anti-communist crusade, and there's no mistaking the bad guys-- Raymond Burr in a Lenin-like goatee, a sinister gathering of "comrades", and Hollywood's version of commie rhetoric about how the individual doesn't matter in the global scheme of things. Up to that point, the studios had been turning out generally pro-Soviet films in behalf of our WWII allies. But now, turning on a dime, we find out what perfidious characters we had been supporting. Oh well, as they say, in politics there are no permanent friends or enemies, only permanent interests.

Square-jawed Dennis O'Keefe makes for a dogged and intrepid FBI agent aided by Scotland Yard loan-out Louis Hayward. Together, they show what sterling fellows the English-speaking world turns out. They're on the trail of a covert Soviet spy sneaking out secrets from what is likely a bomb designing laboratory, though it's never specified. The plot rather prophetically anticipates the Klaus Fuchs affair of 1949, when the German-born spy was exposed as smuggling A-bomb secrets to the Soviets as early as 1945.

The suspense revolves around who the lab spy is and how he's getting the secrets out. It makes for entertaining, if workman-like, viewing. The familiar narrator Reed Hadley lends stentorian authority, along with some fine location photography. Together they impart a sense of reality to what are otherwise standard stereotypes and a melodramatic plot. Sure it's Hollywood's manipulative brand of political cinema, this time turned on our former friends. But at least it's watchable, minus the kind of cold-war hysteria that came to characterize other efforts of the period. All in all, an interesting and revealing reflection of its time.