Cloak and Dagger

This is old-school filmmaking by a master of directing; Fritz Lang, creator of M and many other fine films. Cloak and Dagger was made shortly after WW2, so it has that real WW2 feeling that only films from the 40s have. The two major stars, Gary Cooper and Lili Palmer have a wonderful chemistry that works, as well as all of the supporting actors. The production values are first-rate; Lang would make sure of that. The storyline is interesting; spies for the A-Bomb during the war. Recommended for good WW2 atmosphere.

While this is probably the first Fritz Lang film I wasn't overwhelmingly impressed with (well, maybe Siegfried, too), it does have a couple of things that make it really worth watching. Cooper's fury as a scientist early on in the movie railing against the amount of money the government pays for the development of killing machines, as opposed to curing diseases and making the world a better place, is beautiful and gave me chills. It's an incredibly powerful expression of grief and outrage in the wake of the bombings of Hiroshima and Nagasaki (this movie came out only a year after the end of the war). Also, there's an INCREDIBLE fight scene late in the movie, in which Cooper's character (who's really a professor, and just an ordinary man, not a hardened fighter) struggles with an Italian spy. I don't think Lang is known for his fight scenes, but this one is a masterpiece. There's no Jackie Chan flying over tables, swinging on chandeliers, or kicking people through walls; instead, you have an ordinary man struggling with a somewhat superior opponent, in a very realistic, very brutal fight scene. A lot of small, practical self-defense moves I remember my dad teaching me when I was young are employed in this fight, including stomping on someone's instep and a couple of simple arm grapples. The action is extremely believable and practical, and the combat is savage, between two men fighting desperately for their lives. No one watches Fritz Lang movies for the fight scenes, but this one's really one of the highlights of this otherwise "eh" film--it's extremely well-done, and very surprising for a 1940s movie.

One of 'Cloak and Dagger's' biggest attractions was having Fritz Lang as its director, have said more than once about liking Lang a lot as a director and this film does nothing to change my mind. Of the cast, Gary Cooper is the most familiar name to me and while there are performances of his that are great there are a few that are not so good. The story sounded really interesting on paper and sounded like it would be a very atmospheric film.

'Cloak and Dagger', when seeing it, could easily have been very run of the mill and very routine. Instead, to me on the most part it was really quite gripping. While 'Cloak and Dagger' is not one of Lang's best films, not by a long shot, and there are better spy thrillers out there, but it is still well done and better than a lot of similarly themed films from around this period and doesn't do anything to squander Lang's or Cooper's talents (a good thing, wastes of talent get on my nerves).

Very atmospheric photography is an obvious good point, and the same goes for the lighting. Both add to the film's bleak atmosphere. Lang directs with great skill, didn't get the sense that he was bored or unsure of what he was doing, instead in control of the material and getting much out of it as possible. The script doesn't ramble or feel melodramatic, with it feeling as tight and cohesive as ought generally. The story more often than not is dripping in tension, at its best nail-biting, and the time that the film is set in is superbly portrayed in a frighteningly bleak manner and not shying away.

There is one fight scene that is particularly tense. Cooper does very well in his role once he warmed into it. Lilli Palmer excels even better in a sensitive performance as a character just as interesting. Everybody else is solid, with Robert Alda being especially memorable.

Unfortunately, 'Cloak and Dagger' does start off a bit too sluggishly and uncertain, would go as far to say routine.

While the central relationship settles believably once things get going (which it took perhaps a little too much time to do so), it wasn't one that settled straightaway and took time to. The music is too intrusive in volume and tone, over-emphasising the mood.

Altogether, solid film if not a great one. 7/10

For Gary Cooper, it's "Cloak and Dagger" in this 1946 film directed by Fritz Lang and also starring Lilli Palmer (in her American film debut) and Robert Alda.

Toward the end of WW II, it comes to U. S. attention that the Germans are developing a nuclear bomb. The OSS recruits a midwestern university scientist, Alvah Jesper (Cooper) to go to Switzerland.

There, he is to speak speak to a German scientist Dr. Loder (Helen Thimig) who has escaped to Switzerland, where she is now hospitalized. But Alvah's cover is blown, and he is being watched. In Italy searching for the scientist working with Dr. Lodor, Polda (Vladimir Sokoloff), Alvah is protected by guerrillas who include Gina (Palmer) and an American, Pinkie (Alda).

A bit slow at first, "Cloak and Dagger" picks up steam as it goes along. The most stunning scene occurs when, as an Italian sings a folk song outside, Alvah and an Italian Gestapo agent, Luigi, (Marc Lawrence) fight inside a building.

And by the way, Michael Burke, the OSS member who was the film's adviser, and an agent named Andreas Diamond, showed Lang the hand-to-hand combat used in this film.

Apparently, Gary Cooper had problems with the scientific dialogue (as he had problems with not understanding his speech at the end of The Fountainhead), and Warner Bros. Records state this fight scene was the only one he did well. A very suspenseful, exciting, and raw scene, the best in the film. The thrilling ending is top-notch as well.

The love that develops between Gina and Alvah is poignant, and beautiful Lilli Palmer gives a fantastic performance. I agree with others, Alvah seems pretty sharp and experienced for an untrained agent. Cooper is very good in a heroic role - strong but gentle and as usual, terribly handsome.

The ending of this film was changed from an antiwar one and anti-nuclear weapons, since by the time the film was released, since the bomb had just been dropped on Hiroshima.

Well worth seeing, if not ultimate Lang.

This is the fourth and last of Fritz Lang's American espionage films and it is certainly a strange one. Written by Albert Maltz and Ring Lardner Jr. who were later blacklisted for their Communist sympathies, the film's anti-atomic sentiments have been expunged by the studio. As expected from Expressionist Lang the film looks wonderful but despite some thrilling moments it is on the whole uneven.

Inspired by the exploits of OSS operative Michael Burke this has Gary Cooper as a mild-mannered nuclear physicist who is attempting to smuggle a fellow physicist out of occupied Italy. He is aided in this by Italian partisans, one of whom is played by Lilli Palmer. Naturally, a romance blossoms.......

The character of Professor Jesper is surely one of the dullest heroes in film history which makes the casting of Gary Cooper a masterstroke. He carries it off wonderfully with his customary ease and we are with him all the way. He is especially sympathetic in his scenes with the marvellous Helene Thimig and Vladimir Sokolov and utilises the old charm with the double agent of Warner's contract player Marjorie Hoshell who is straight out of a film noir. His scenes with the Gina of Lilli Palmer just about work. There is certainly an emotional chemistry between them but alas not a physical one. As for Miss Palmer this is her first Hollywood film and proved to be a baptism by fire. Not only is her role as a traumatised bordering on paranoid resistance fighter extremely demanding, she was given a hard time by the director. Lang was known to be a bully and like all bullies picked on those least able to fight back. At one stage the entire crew walked out in protest at his treatment of her. When filming ended he told her; "I'll look after you in the cutting room." To his credit he did and she comes out very well. Needless to say Herr Lang was respectful towards Mr. Cooper!

The scene that lingers longest and the one directed by the sadistic Lang with true relish is the fight between Cooper and the Italian fascist agent of Marc Lawrence. Their gruesome and vicious struggle is played out to the sound of an Italian street singer while the child's toy ball bouncing down the stairs to the feet of the corpse is very effective and evidently a nod to his masterpiece 'M'.

Lang never concealed his loathing of meddling Hollywood producers and here once again his original ending in which the Germans appear to have the atomic bomb, has been cut. The horrors of Hiroshima and Nagasaki were of course all too recent and it is one of Life's supreme ironies that ex-Nazi scientists were assisting America in its nuclear programme.

Despite its weaknesses this is still extremely watchable thanks to its charismatic cast, Lang's mastery of light and shade and of course the sine qua non of a Warner's film, Max Steiner's score.