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IMDbPro

Nid d'espions

Titre original : The Fallen Sparrow
  • 1943
  • Approved
  • 1h 34min
NOTE IMDb
6,6/10
2,1 k
MA NOTE
Maureen O'Hara, John Garfield, Patricia Morison, Martha O'Driscoll, and Walter Slezak in Nid d'espions (1943)
Regarder Official Trailer
Lire trailer2:09
2 Videos
54 photos
Film NoirPsychological DramaSpySuspense MysteryWhodunnitCrimeDramaMystery

Ajouter une intrigue dans votre langueIn 1940, an American former Republican prisoner during the Spanish Civil War, John McKittrick, is determined to find the killer of NYPD Lieutenant Louie Lepetino, who had helped him escape.In 1940, an American former Republican prisoner during the Spanish Civil War, John McKittrick, is determined to find the killer of NYPD Lieutenant Louie Lepetino, who had helped him escape.In 1940, an American former Republican prisoner during the Spanish Civil War, John McKittrick, is determined to find the killer of NYPD Lieutenant Louie Lepetino, who had helped him escape.

  • Réalisation
    • Richard Wallace
  • Scénario
    • Warren Duff
    • Dorothy B. Hughes
  • Casting principal
    • John Garfield
    • Maureen O'Hara
    • Walter Slezak
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,6/10
    2,1 k
    MA NOTE
    • Réalisation
      • Richard Wallace
    • Scénario
      • Warren Duff
      • Dorothy B. Hughes
    • Casting principal
      • John Garfield
      • Maureen O'Hara
      • Walter Slezak
    • 38avis d'utilisateurs
    • 23avis des critiques
  • Voir les informations de production sur IMDbPro
    • Nommé pour 1 Oscar
      • 1 nomination au total

    Vidéos2

    Official Trailer
    Trailer 2:09
    Official Trailer
    Fallen Sparrow Clip
    Clip 0:30
    Fallen Sparrow Clip
    Fallen Sparrow Clip
    Clip 0:30
    Fallen Sparrow Clip

    Photos54

    Voir l'affiche
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    + 46
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    Rôles principaux50

    Modifier
    John Garfield
    John Garfield
    • John McKittrick
    Maureen O'Hara
    Maureen O'Hara
    • Toni Donne
    Walter Slezak
    Walter Slezak
    • Dr. Christian Skaas
    Patricia Morison
    Patricia Morison
    • Barby Taviton
    Martha O'Driscoll
    Martha O'Driscoll
    • Whitney Parker
    Bruce Edwards
    Bruce Edwards
    • Ab Parker
    John Banner
    John Banner
    • Anton
    John Miljan
    John Miljan
    • Inspector Tobin
    Hugh Beaumont
    Hugh Beaumont
    • Otto Skaas
    Ed Agresti
    • Nightclub Patron
    • (non crédité)
    Bobby Barber
    Bobby Barber
    • Waiter
    • (non crédité)
    Symona Boniface
    Symona Boniface
    • Guest
    • (non crédité)
    Patti Brill
    Patti Brill
    • Dancer
    • (non crédité)
    Jack Carr
    • Danny
    • (non crédité)
    André Charlot
    • Pete
    • (non crédité)
    James Conaty
    • Nightclub Patron
    • (non crédité)
    William Edmunds
    • Papa Lepetino
    • (non crédité)
    Fely Franquelli
    Fely Franquelli
    • Gypsy Dancer
    • (non crédité)
    • Réalisation
      • Richard Wallace
    • Scénario
      • Warren Duff
      • Dorothy B. Hughes
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs38

    6,62K
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    Avis à la une

    5bkoganbing

    A Better Plot Premise

    The Spanish Civil War was never a popular subject to begin with for Hollywood, but in 1943 two films would come about it. The first was Paramount's big budget For Whom The Bell Tolls and the second made for considerably less was The Fallen Sparrow about a veteran of that conflict's and the quest after him.

    Before just membership in the Abraham Lincoln Brigade blacklisted you from all kinds of places after, people returned after the loss of the war by the Republic to the Falangists without any of the problems that John Garfield faces in The Fallen Sparrow. But it seems as though Garfield managed to cop a battle flag from some old European house that is in sympathy with the Nazis. Believe it or not, Adolph Hitler is going through some really unbelievable lengths to get it back.

    Maybe if Garfield had some secret chemical formula stashed somewhere I might have gotten the plot of this film. But for the life of me if it weren't for Garfield's strong performance as a veteran who underwent all kinds of sophisticated torture, the film would have been laughable. So while the plot premise was ridiculous, Garfield's performance anticipates by several years other films about brainwashing techniques on prisoners and the readjustment to civilian life which Garfield never quite makes.

    In any event back from the Spanish Civil War and before America gets into World War II, Garfield finds himself involved with some strange foreign refugee types as he goes looking for the murderer of a New York City cop and pal of his who arranged his escape from the clutches of the new Falangist government under Francisco Franco. The most sinister of them and he usually is in these films is Walter Slezak.

    In her memoirs Maureen O'Hara said that Garfield was a delightful person to work with even though she was far from sympathetic with his politics. She had no hesitation in labeling him a Communist. In point of fact Garfield was a strong New Deal Democrat who in his years growing up poor and later in the Group Theater made some friends who unashamedly were Communists. They called people like him 'fellow travelers' back in those old bad old days.

    The Fallen Sparrow would have been a lot better film had it been given a stronger plot premise.
    8wes-connors

    Into Each War Some Sparrows Must Fall

    Tortured by Fascists during the Spanish Civil War, veteran John Garfield (as John "Kit" McKittrick) returns to find the policeman who helped him escape has supposedly committed suicide by jumping, or accidentally falling, from an open window. Smelling a rat, Mr. Garfield immediately realizes his friend was murdered. With the New York police seemingly in on the cover-up, Garfield begins investigating alone. The first suspects are three beautiful women - presumably red-haired hat clerk girl Maureen O'Hara (as Toni Donne), brunette ex-girlfriend Patricia Morison (as Barby Taviton), and blonde songstress Martha O'Driscoll (as Whitney Parker).

    As he relives psychological trauma incurred during his imprisonment, German Nazis close in on Garfield. Wheelchair-bound doctor Walter Slezak (as Christian Skaas) oozes suspicion. "The Fallen Sparrow" lacks some plot development, perhaps because the entire storyline from Dorothy B. Hughes' novel couldn't be included - and, at least one of the villains isn't too difficult to identify. Still, the film is very neatly directed by Richard Wallace, with editing by Robert Wise, black-and-white cinematography by Nick Musuraca, and "Academy Award"-nominated music by Roy Webb. And, as you'll see, Garfield and three beautiful women go a long, long way.

    ******** The Fallen Sparrow (8/19/43) Richard Wallace ~ John Garfield, Maureen O'Hara, Walter Slezak, Patricia Morison
    7blanche-2

    Garfield in a propaganda film

    "The Fallen Sparrow" is a 1943 film starring John Garfield, Maureen O'Hara, Walter Slezak, and Patricia Morison. Directed by Richard Wallace, from the novel by Dorothy Hughes, the story concerns John McKitrick, a Spanish Civil War vet who escaped from a prison camp, where he was tortured. He's suffering from severe post-traumatic stress, but he has returned to New York to find out who killed his best friend. He has something he brought back with him from Spain, and Nazi agents are on his trail for it. McKittrick doesn't know whom he can trust, and that includes the beautiful Toni Donne (O'Hara), the mysterious wheelchair-bound refugee doctor (Walter Slezak), or even an old friend (Martha Driscoll).

    Though Garfield is excellent as a former prisoner of war, and his performance is well worth seeing, the plot of "The Fallen Sparrow" is confusing; the film moves slowly and has very little action. The best thing about it is the cast - the stunning O'Hara, the glamorous Patricia Morison, and the sinister Slezak rounding it out.

    Reminiscent of "The Maltese Falcon," but Warners didn't score big with this one. Nevertheless, anything John Garfield did during his short career is worth seeing.
    dougdoepke

    Stylish

    Lushly mounted espionage thriller that rivets the eye even when the narrative meanders. It's the great RKO artistic team of Musuraca, Silvera, and D'Agostino setting the stage for noir's post-war golden period, foreshadowed here by the rich b&w landscape. Garfield's a shattered veteran of the Spanish Civil War, tortured by the fascists and a mysterious limping man. Now he's back in New York trying to regain stability and find out who killed his best friend. Along the way, he meets up with sinister European types and the beauteous O'Hara looking like she stepped off a 1942 Vogue cover. Turns out everybody, including the limping man, is trying to get possession of a regimental battle standard whose whereabouts only Garfield knows. Needless to say, at times the storyline could use a road map to follow. But that's okay because the appeal lies elsewhere, as in the shadowy characters and photography.

    Note how effectively Garfield's moments of derangement are highlighted by the musical score and the astute close-ups. Those penetrating few moments are hauntingly expressed as they reach into Kit's (Garfield) tortured "subjective" reality. The actor delivers in spades in a difficult role requiring that he be in about every scene. The movie's also an eye-full for the guys with three knockout leading ladies. However, despite her looks, I think the normally vivacious O'Hara is miscast, a little too stiff and impassive for the subtleties required by her character. On a different note, the limping man's dragging foot adds a creepy sound to the sinister atmosphere and is what I remember most from seeing the film as a kid. Anyway, the movie's an unusual thriller with a really great "look" that stands up well over the decades.
    6bmacv

    Thick, overheated "anti-Fascist" noir leaves scorched aftertaste

    Hollywood fought World War II on many fronts: most obviously, in its documentaries and war dramas; in genre series coopted for the war effort (such as Sherlock Holmes programmers); and in thrillers dedicated to smoking out the Fifth Column at home (The House on Ninety-Second Street). There was also a more complicated, ideologically tinged kind of movie, not simply anti-Nazi but more broadly `anti-Fascist' (and defiantly leftist). Lillian Hellman's Watch on the Rhine was one; The Fallen Sparrow was another.

    John Garfield (who else?) survived torture while fighting for the anti-Franco forces in the Spanish Civil War, but it took its toll; he recuperated in a sanitarium in the Southwest. Upon returning to New York – where a war buddy has met death by defenestration from a penthouse party – he finds some of his friends traveling in the same circles as vaguely sinister Europeans and fly-specked aristocrats – Germans, Italians, Spaniards – who take a perverse interest in him. Among them is Maureen O'Hara (in a dark, forties updo), who runs hot and cold when it comes to his advances.

    The dense plot of The Fallen Sparrow collapses into a noirish muddle. Multiple heavies purr in a babel of as many stage accents (Hugh Beaumont's Prussian the most amusing of them). Walter Slezak plays a mittel-European professor whose passion seems to be the aesthetics of torture, and whose limp summons up nightmares for Garfield. There are also family crests dating from at least the Borgias (whose speciality was goblets of poisoned wine), a senile old curmudgeon who believes he'll be restored to the throne of France, and a tattered standard Garfield has rescued from Spain, which becomes this film's black bird....

    Following all these threads require rapt attention, but who would be willing to devote anything less to the fight against Fascism? The film borrows from such immediate predecessors in the nascent noir cycle as The Maltese Falcon (especially the ending) and The Glass Key. It cooks up plenty of atmosphere but lacks vital clarity. It's not without interest – the attention to the psychological aftermath of torture is a bold and courageous stroke – but with its political passions looking quaint, if not naive, this overheated melodrama leaves a scorched aftertaste.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      RKO bought the film rights to Dorothy B. Hughes' novel for $15,000 expressly as a vehicle for Maureen O'Hara according to contemporary articles in The Hollywood Reporter.
    • Gaffes
      The bust which is knocked through the window and crashes out on the street, appears in its original position in the next shot.
    • Citations

      Inspector 'Toby' Tobin: Why do you want to carry a gun?

      John 'Kit' McKittrick: [grins and lets out a little laugh] To shoot people with, sweetheart.

    • Crédits fous
      Opening credits: "...in a world at war many sparrows must fall ...
    • Connexions
      Featured in The John Garfield Story (2003)
    • Bandes originales
      Beware
      Written by Harry Revel and Mort Greene

      Sung by Martha O'Driscoll (dubbed by Martha Mears)

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    FAQ15

    • How long is The Fallen Sparrow?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 23 novembre 1943 (Mexique)
    • Pays d’origine
      • États-Unis
    • Langues
      • Anglais
      • Allemand
      • Italien
      • Français
    • Aussi connu sous le nom de
      • El beso traidor
    • Lieux de tournage
      • RKO Studios - 780 N. Gower Street, Hollywood, Los Angeles, Californie, États-Unis(Studio)
    • Société de production
      • RKO Radio Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 34 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Maureen O'Hara, John Garfield, Patricia Morison, Martha O'Driscoll, and Walter Slezak in Nid d'espions (1943)
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