Barney Bat

The other user comment misses the point of this film entirely; Passport to Suez is not supposed to be a serious historical examination of what might have happened had the Nazis gained control of the Suez Canal, but a spy/mystery/adventure with some comedy laced in.

Warren William's final turn as Michael Lanyard is a real winner, thanks to a complex and witty script and the direction of the great Andre De Toth. The Lone Wolf films are always entertaining (with the exception of The Lone Wolf Spy Hunt, which was nearly ruined by Ida Lupino) but Passport to Suez has a classier feel than any of its predecessors. The camera-work in the film is moody and atmospheric, William's first meeting with Mr. X is very memorable, and one murder scene that takes place on an Alexandrian street is positively stunning, something Hitchcock needn't have been ashamed of. The mystery is intricate and well-meshed, and the script features a memorable array of colorful characters--Gavin Muir's friendly and urbane Nazi operative, Sheldon Leonard's slick nightclub owner, Anne Savage's femme fatale, Sig Arno's eccentric stool pigeon, Frederic Worlock's uptight British intelligence officer, Jay Novello's sleazy spy, and especially Lou Merrill's phlegmatic but deadly double-agent.

William himself handles the atypical seriousness of the plot perfectly and reins in his usual enjoyable hamminess, while Eric Blore provides impeccable comedy relief(his reaction to the mysterious phone caller at the beginning of the picture is hilarious--I feel that way with certain telemarketers).

The propaganda in the film is mercifully minuscule; it has none of the protracted speeches that popped up in the earlier Lone Wolf film Counter-Espionage. Aside from Warren's remark to Muir about the "New European Order having no room for sentiment," propaganda is bypassed for sheer entertainment.

A worthy finale to William's illustrious stint as the Lone Wolf.

Or my favorite, at least. I like the other Sanders entries, Hugh Sinclair's two shots at the role, and Louis Hayward's SAINT IN NEW YORK, but this one just seems to completely capture the lighthearted and eccentric but adventurous feel of the classic British "thriller" to a tee. The slightly giddy but very beautiful Sally Gray is a wonderful leading lady, and David Burns (a versatile and talented Broadway performer) is easily the Saint's best sidekick; he's tough and smart and not a buffoon in the least. Henry Oscar is also a classic villainous "Mr. Big." The dialog is sharp and witty throughout. Highly recommended.

I just saw this one courtesy of Turner Classic Movies, and can't really agree with the other user comment. I saw many of Joe E. Brown's Warners films on TCM back in August, and personally I thought this picture was better than many of them. Being post-Code, the script didn't rely on double entendres, which can get tiresome very fast; the writers have to work to get laughs, and they do a good job. Brown is at the peak of his form, and the supporting cast--particularly Edgar Kennedy and Fred Keating--is a lot of fun. Bull Montana is also hilarious as the Salvador "slayer." Favorite line:

Frank Jenks: How'd you like to get drowned the bathtub?

Joe E. Brown: Not particularly!