NOTE IMDb
6,6/10
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MA NOTE
Ajouter une intrigue dans votre languePowell plays an American cryptologist who tangles with German spies while falling in love.Powell plays an American cryptologist who tangles with German spies while falling in love.Powell plays an American cryptologist who tangles with German spies while falling in love.
- Réalisation
- Scénario
- Casting principal
Lowden Adams
- Butler
- (non crédité)
Rudolph Anders
- Radio Operator
- (non crédité)
Johnny Arthur
- Code Room Clerk
- (non crédité)
Max Barwyn
- Boris Stronskoff - Russian Singer
- (non crédité)
Avis à la une
Not an often shown film, nor a great one, this is worth your time if TCM ever shows it again. The plot is somewhat dated but nevertheless interesting -- code breaking and spy catching -- if you ignore some of the excesses that were probably added by Hollywood. Folding in comedy, drama, and action into what would probably have made an excellent military training film, we are left unsatisfied with the overall effect. Yet there is a hint of the "Thin Man" chemistry between William Powell and Rosalind Russell that brings a smile to your lips. Fair but I am not sorry that I watched it.
If you like William Powell enough (or another actor in this film) and its venue, you may flow with it. It is a weaker one to my view, and while not a throwaway, not really picked up by anyone in particular. The character Russell played was incongruous and annoying, though she was probably refreshing as a newcomer. There's a bit too much overdone flip and horsiness about her performance here and in a lot of her pictures, to my taste. Likely, it's a script flaw, but given the level of weight of the decoding project at hand, her stunts are incongruous at best. The fact that she had such easy access is also unbelievable, despite her connections by relation. Also, she doesn't really work with Powell's character. After about her third shenanigan, I think, that's it for her. He'll move on. But he trots right along and they end up together. What? That a man of his caliber would hook up with a loose cannon like that just really doesn't work. And they aren't believable together. Binnie Barnes' character, though the villainess, was easier to take down, being consistent and well enough done. This essentially war picture has its interest, but I can't say after one more run through, I would care to repeat. But I do hang onto my classics and after some time, enjoy going back for just the era and actors. One can always ogle the clothes if nothing else.
With America just entering WWI, Bill Gordon (William Powell) joins the army as a lieutenant, ready to deploy to France and fight. Right before he deploys he "meets cute" a girl at a cocktail party, Joel Carter (Rosalind Russell). They have a bit of a whirlwind courtship, and Joel begs him to stay. Gordon refuses, but along with that refusal admits to Joel a secret about himself - He wrote the ultimate book on cracking codes under a pen name, and the War Department has been moving heaven and earth trying to find out who the author really is. The next morning, getting ready to board his boat, he is ordered to a desk job. Apparently, Joel is the niece of the assistant head of the War Department, and she has ratted him out as an ace code cracker in order to keep him around Washington. Complications ensue.
This was Rosalind Russell's first starring role, so she doesn't really have her screen persona down which she finally develops in "The Women" four years later. So MGM has her playing this annoying creature who causes trouble for Gordon every time she appears. No way do I believe he'd want her around after all of her frustrating antics.
This is almost like a movie actually made in 1917 - it is such an anachronism. First off, by 1935 when this was made, WWI was considered a waste of blood and treasure, and here Europe was feauding with Germany AGAIN. That is why Congress passed some laws to keep us out of any potential war there. Yet Gordon is practically George M. Cohen here, he is just so anxious to land in a trench in France. Then there are the German spies. Remember these are NOT the Nazis and the Nazis won't be taken seriously for another three years or so. But MGM has them acting exactly like Nazis - ready to turn on each other, ready to kill to save their spy ring.
Finally there is the cryptography issue. There were no computers in WWI, and so I'm sure standard blackboards and cryptography wheels were used as shown to crack codes, but the method that Gordon uses to crack the code - mainly a variation on the primitive Vigenère cipher - would be cracked relatively quickly and it would not take an ace cryptographer to do so. Forgive that digression into geekdom.
This is very much worth your time with great performance by William Powell as always and a look at Rosalind Russell in the beginning.
This was Rosalind Russell's first starring role, so she doesn't really have her screen persona down which she finally develops in "The Women" four years later. So MGM has her playing this annoying creature who causes trouble for Gordon every time she appears. No way do I believe he'd want her around after all of her frustrating antics.
This is almost like a movie actually made in 1917 - it is such an anachronism. First off, by 1935 when this was made, WWI was considered a waste of blood and treasure, and here Europe was feauding with Germany AGAIN. That is why Congress passed some laws to keep us out of any potential war there. Yet Gordon is practically George M. Cohen here, he is just so anxious to land in a trench in France. Then there are the German spies. Remember these are NOT the Nazis and the Nazis won't be taken seriously for another three years or so. But MGM has them acting exactly like Nazis - ready to turn on each other, ready to kill to save their spy ring.
Finally there is the cryptography issue. There were no computers in WWI, and so I'm sure standard blackboards and cryptography wheels were used as shown to crack codes, but the method that Gordon uses to crack the code - mainly a variation on the primitive Vigenère cipher - would be cracked relatively quickly and it would not take an ace cryptographer to do so. Forgive that digression into geekdom.
This is very much worth your time with great performance by William Powell as always and a look at Rosalind Russell in the beginning.
I'm a big fan of William Powell, Rosalind Russell, screwball comedies, and old spy flicks. Wouldn't it have been nice for the two stars to have been in the same movie? After their amusing meeting near the beginning sets up a fine romantic comedy to follow, Powell glides into a serious espionage drama, while Russell goes full-throttle Gracie Allen ditz, with a side order of lovestruck Ginger Rogers.
Film series about The Thin Man, Bulldog Drummond or the lesser-known Torchy Blane, manage to blend the comedy and mystery elements into a harmonious union. This one plays out like a double bill that got spliced into a single mismatched plot. What a waste of talent and opportunity to start with such a promising pairing and end up with Russell's character so woefully out of place for the last 3/4 of the production.
Film series about The Thin Man, Bulldog Drummond or the lesser-known Torchy Blane, manage to blend the comedy and mystery elements into a harmonious union. This one plays out like a double bill that got spliced into a single mismatched plot. What a waste of talent and opportunity to start with such a promising pairing and end up with Russell's character so woefully out of place for the last 3/4 of the production.
This is a so-so movie starring the wonderful William Powell. I swear the man could have brought the phone book to life. It's a film about a spy ring, breaking some codes, and finding the mole. Costars include young, dark-haired Cesar Romero (by the time I knew who he was, he had white hair), Binnie Barnes, Lionel Atwill, and Rosalind Russell in a very early - and very annoying role. Russell is pretty (except for what looked a clown costume turned into a woman's suit), and she was certainly a masterful actress/comedienne of stage and screen. But this was not a good part. In fact, as I was watching it, I thought, I wonder if anyone else found this character - well, not very likable. The character reminded me a little bit of Katharine Hepburn in Bringing Up Baby, where Hepburn pursued Grant. But Katharine Hepburn played an airhead, and Russell portrays a down to earth woman. Somehow, her making a nuisance of herself with Powell isn't as fun as seeing Hepburn do it.
Bottom line, it's just not a great script, but it is interesting to watch.
Bottom line, it's just not a great script, but it is interesting to watch.
Le saviez-vous
- AnecdotesOriginally intended to be a vehicle for William Powell and Myrna Loy, Rosalind Russell was brought in as Loy was "on strike" for better pay after the huge success of L'introuvable (1934).
- GaffesThis movie takes place during World War I. The map of France on Lt. Gordon's office wall includes Alsace and Lorraine, which weren't returned to France until after the war.
- Citations
Joel Carter: A wife's place is with her husband. When he's in Paris.
Lieutenant Bill Gordon: Ah, but I'll be up at the front.
Joel Carter: But you could come back over weekends.
Lieutenant Bill Gordon: Or we could get the Germans to come right down to Paris, then I wouldn't have to leave you at all. No, darling, you can do just as much harm here as you could in Paris.
- Crédits fousIntro: Behind every strategic move in war, a secret army toils ceaselessly. On the accuracy of their dangerous work depends on the launching of battles, the sinking of ships and the destinies of thousands of soldiers on land and sea.
- ConnexionsRemade as Pacific Rendezvous (1942)
- Bandes originalesYou're In The Army Now
(uncredited)
Music by Isham Jones
Lyrics by Tell Taylor and Ole Olsen
Played during the opening credits
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Détails
- Durée
- 1h 34min(94 min)
- Couleur
- Rapport de forme
- 1.37 : 1
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