La maison de la 92e rue

"The House on 92nd Street" is a 1945 film about the FBI's attempts to break up a spy ring during the war. A young man, William Dietrich (William Eythe), who has been recruited by the Nazis as a spy, informs the FBI of this and becomes their mole inside the organization. One of Dietrich's goals is to get the identity of the mysterious "Mr. Christopher" who gives all of the orders.

This is a black and white film with strong narration that probably had a great impact at the time of its release. Though the machinery used in the movie looks archaic now, back then it must have been fascinating for an audience to watch and seemed very high-tech. Plus some of the material being transmitted had to do with the top-secret atom bomb, which at the time of the film, had just been dropped.

The cast is small, consisting of Eythe, Lloyd Nolan, Leo G. Carroll, Signe Hasso, Gene Lockhart, and Lydia St. Clair. They're all solid. For a change, the women, Hasso and St. Clair, have the strongest roles in the film, and they give striking performances. Eythe was getting the big star build-up at 20th Century Fox. Since it was wartime, he could have made a place for himself at the studio the way that Dana Andrews did. However, when gay rumors reached Darryl Zanuck, Eythe's path became a rocky one, leading nowhere, as the studio continually demoted him and eventually got rid of him.

Well worth seeing.

The House on 92nd Street (1945)

Henry Hathaway has directed some great film noirs (Kiss of Death is indisputably great), but he also didn't mind the dull assignment here and there, as in the competent Call Northside 777 and this one, both revealing American crime detection in action. Yes, this is actually well made, but it has a documentary feel that leaves it in a straitjacket as good crime drama. It's strong stuff, and filled with significance, real Nazi activities on U.S. soil leading to the a-bomb. But you'll see, as soon as the familiar narrator starts to explain the events, that it's a formulaic approach.

To some extent, you can't really watch this without noticing it feels, from the next century (2010 as I write) like propaganda. Not that it isn't honest, it just is filled with uncritical pride. The FBI in particular comes across as flawless and brilliant, and I'm sure it often was, but not quite without complications, nuances, and personal quirks that make the best fiction films take off. This one was made just as World War II was over in Europe, and there was nothing but patriotism in the air, naturally.

I actually like Leo G. Carroll a lot, and he holds up his scenes well, and Swedish actress Signe Hasso is a surprise, strong and sharp (wait until she takes her wig off and transforms in ten seconds). Much of the movie, especially after the first half hour with all its narration and actual documentary footage, has the feel of any well constructed drama and those are the parts, for me, to hook into. Besides, there is a quality here that's really pretty fun--a glimpse into the attitude of 1945 America that isn't the usual brazen, lonely, taut film noir response. Fiction makes for better movie-going, in this case, but here is a watchable quasi-documentary that holds up pretty well, off and on, if you keep expectations in check.

Henry Hathaway directed this spy film presented in semi-documentary fashion starring Lloyd Nolan as FBI Inspector George Briggs, who is in charge of the counter-terrorist division that recruits German-speaking William Dietrich(played by William Eythe) to infiltrate a cell of German spies sent to America to gather information on the construction of the atomic bomb. The FBI allows its 92nd. street headquarters to remain open in order to identify its highest-level operatives, which involve a Mr. Christopher, though Dietrich's main contact is a woman(played by Signe Hasso) How long before he can identify his targets, or end up identified himself? Fine film effectively uses the semi-documentary approach, with Lloyd Nolan the standout, and would reprise the role in semi-sequel "The Street With No Name".

When this film was made in the 1940's, the ultimate evil that is Adolph Hilter and the Nazi movement was still a serious threat to our way of life. Lloyd Nolan, a major star of the 30's and 40's, gives his usual strong performance as FBI Agent Briggs, in charge of the Nazi spy case. Leo G. Carroll steals the movie playing the Nazi spymaster. Enjoy this film and remember why our fathers and grandfathers fought WWII. As a side note, real FBI agents appeared in this movie in support roles at the direction of J. Edgar Hoover, who gave his full co-operation to the producers.

The highly gifted natural and trained talent of Lloyd Nolan adorns this story of espionage and counterespionage in the US just prior to and after WWII was declared.

Playing a key FBI agent, Nolan displays the totally convincing work he rendered throughout his career. He heads a strong cast: Signe Hasso and Leo G. Carroll offer solid performances, and William Ethye is a good leading man.

Director Henry Hathaway mixes in authentic newsreel footage with care and balance. The result is a well done docudrama of the mid 40s.

It looks as though 20th Century Fox made a pact with the FBI for this project, with almost the complete Bureau being utilized for the shoot. The films emerges as a supreme tribute to the branch, with Chief Hoover's name frequently in evidence.

The work technically qualifies as propaganda, in which patriotic appreciation and support for the war effort is forthrightly projected.