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1948's Walk a Crooked Mile bursts out of the stale post-war semi-documentary format to become an absorbing espionage drama, thanks to: *Carefully rationed, no-nonsense writing (screenplay by George Bruce; story by longtime veteran Bertram Milhauser (over 60 film treatments in 50 years!); *Sharp and spare direction (by the versatile Gordon Douglas - said to be the only person to direct both Elvis and Sinatra). Filming took less than a month; * Watchful camera (cinematography by George Robinson), and enchanting location work in the beautiful San Francisco of nearly three-quarters of a century ago; * Unobtrusive acting by leads Dennis O'Keefe as an FBI agent and Louis Heyward as his Scotland Yard counterpart; * Enough angles and twists to keep you guessing to the very last frame; *And shrewd bit-casting (with an unexpected throat-catching moment lasting less than 20 seconds that you will remember for a long time , from veteran ...and uncredited... actress Tamara Shane - Moma Yoelson in The Jolson Story (1946) and Jolson Sings Again (1949) and Mrs Akim Tamiroff in real life -- as The Landlady).

All this cinematic professionalism produces so much edge and vitality that a virtually unheralded, almost forgotten 1948 Cold War Feds 'n Reds potboiler is transformed into a surprisingly compelling action movie, complete with smart detective work, a rats' nest of sneering villains (look for a hirsute, almost svelte and quite nasty Raymond Burr), unexpectedly tense car chases and really noisy Thompson sub-machine guns.

The crafty script doesn't pull at its leash, begging for attention, but instead remains in the background, a steadily ticking clock mechanism -- or perhaps a time bomb -- pushing the nail-biting action forward, with twists and turns at every corner.

Using the documentary style format complete with the stentorian baritone of Reed Hadley, indispensable voice-of-God in the "official" crime dramas of the time, this Columbia Pictures black-and-white feature zeroes in on one of the most disquieting aspects of the Cold War: theft of nuclear secrets.

Atomic plants worry about two kinds of leak: radiation and security. In the fictional Southern California research lab of Walk A Crooked Mile, it's a security leak that has the FBI's Geiger Counters ticking away madly. Vital secrets are being stolen by an unnamed foreign power. (Soviet Russia is never named, but there are plenty of "comrades" and "dictatorship of the proletariat" speeches bandied around by un-American conspirators as to leave no question just which Pravda-subscribing Great Bear is after our Atomic Honey. Besides, villain Raymond Burr is wearing a goatee just like Lenin's!)

Because of the international ramifications of the thievery, the FBI (Dennis O'Keefe) and Scotland Yard (Louis Hayward) join forces to try and catch the red crooks.

Unique among FBI films of the period, the "Chief" is never seen or heard: J. Edgar Hoover is never even mentioned! Indeed, the producer, Edward Small, had had no cooperation from the agency, and Director Hoover had even written a letter to the New York Times complaining that the movie had not been sanctioned by the Bureau. (Reportedly, Walk a Crooked Mile had been originally titled FBI vs Scotland Yard but this was changed at Mr. Hoover's request.)

Despite this official hands-off policy, there is an air of authenticity about the proceedings as the sleuths employ the latest technology in an attempt to uncover the spy ring. The technology may seem to be on a kids' chemistry set level to our sophisticated eyes three-quarters of a century later, but the agents from the FBI and Scotland Yard use their brains as well - and this display of sharp wits is a nice change from the robotic by-the-numbers G-Man tales of the time. And lots of unexpected curves along this crooked mile keep you guessing for every minute of a wild ride.

A good spy thriller, with astute detective work neatly balanced by the occasional bout of violent action.

A 1948 film noir/police procedural. We're in the midst of the Cold War & American agents are on the hunt for Communist operatives which sets the scene as one of ours sees a wanted agent at a sporting event only to be gunned down (shocking for the time I would imagine as we see blood spatter across the man's face) by Raymond Burr (sporting a very Leninesque goatee). Enter the lead FBI agent, played by Dennis O'Keefe, who tracks the spotted man to San Francisco only to find the man murdered in his room even though the FBI were all over him. When they scour their surveillance footage they come up w/another enemy agent, disguised as a priest (which raised no flags), who spends his days in his apartment painting canvases which O'Keefe figures is the means of transporting information. Enter Louis Hayward, a Scotland Yard agent working the same case from the European side of things & he teams up w/O'Keefe to track down the cabal of enemy agents (the info in question is coming from a scientific collective on the cusp of a breakthrough) when they figure out hidden formulas are embedded on the paintings themselves, they figure one of the group is leaking the info. Very procedural in the extreme (I wouldn't be surprised if some would viewers will drop in the ubiquitous "dun dun" from Law & Order as each scene cuts into the next) but immensely engrossing, keeping you on the edge of your seat w/a satisfying gunfight taking place in a darkened home festooned w/Russia's best trying to win the day.

WALK A CROOKED MILE is the sort of brisk, documentary style espionage yarn so often made during the '40s, using narration to tell the story of two espionage agents (DENNIS O'KEEFE and LOUIS HAYWARD) assigned to track down whomever is responsible for leaking top secret information developed at a nuclear plant in California.

Most of the action takes place in San Francisco, where O'Keefe and Hayward discover that an artist (ONSLOW STEVENS) is putting coded information beneath his paintings when he receives it from a spy working for the government agency. The story traces how the spy ring operates and it is these details that give the film added interest before the spies are caught. All of the methods must seem dated by today's standards of F.B.I. work, but the manner of presentation is gripping and the clever cat-and-mouse game that is played between the agents and the spies is credible and fascinating.

It's smoothly directed by Gordon Douglas at a fast clip. RAYMOND BURR has his usual "bad guy" role as one of he spies, and LOUISE ALLBRITTON, CARL ESMOND, ART BAKER and CHARLES EVANS all make interesting suspects in the mystery behind the identity of the key traitor.

Well worth viewing.

Well-made political thriller. 1948 is the year Hollywood joined the anti-communist crusade, and there's no mistaking the bad guys-- Raymond Burr in a Lenin-like goatee, a sinister gathering of "comrades", and Hollywood's version of commie rhetoric about how the individual doesn't matter in the global scheme of things. Up to that point, the studios had been turning out generally pro-Soviet films in behalf of our WWII allies. But now, turning on a dime, we find out what perfidious characters we had been supporting. Oh well, as they say, in politics there are no permanent friends or enemies, only permanent interests.

Square-jawed Dennis O'Keefe makes for a dogged and intrepid FBI agent aided by Scotland Yard loan-out Louis Hayward. Together, they show what sterling fellows the English-speaking world turns out. They're on the trail of a covert Soviet spy sneaking out secrets from what is likely a bomb designing laboratory, though it's never specified. The plot rather prophetically anticipates the Klaus Fuchs affair of 1949, when the German-born spy was exposed as smuggling A-bomb secrets to the Soviets as early as 1945.

The suspense revolves around who the lab spy is and how he's getting the secrets out. It makes for entertaining, if workman-like, viewing. The familiar narrator Reed Hadley lends stentorian authority, along with some fine location photography. Together they impart a sense of reality to what are otherwise standard stereotypes and a melodramatic plot. Sure it's Hollywood's manipulative brand of political cinema, this time turned on our former friends. But at least it's watchable, minus the kind of cold-war hysteria that came to characterize other efforts of the period. All in all, an interesting and revealing reflection of its time.

Dennis O'Keefe, (Daniel O'Hara) plays the role as a FBI Agent who is in charge of finding out how a Southern California atomic plant is having leaks of top secret plans and why one of their agents is killed trying to find out this important information. Scotty Grayson, (Louis Hayward) is a Scotland Yard Inspector who is also called into the FBI office and is working with Daniel O'Hara because he has some important information that can help to solve this case. Raymond Burr, (Krebs) plays the role as a communist who is a very dangerous man who will stop anyone trying to upset their plan to obtain this secret information. This picture is dealing with the Cold War period in history and the scientists in the atomic plant are all under investigation. This film is very entertaining and Dennis O'Keefe gave a great performance along with Raymond Burr just starting out his career and giving a great supporting role. Enjoy.

A communist spy ring infiltrates the top secret Lakeview Laboratory of Nuclear Physics. Dedicated FBI agent Daniel F. O'Hara works late into the night. He receives a call from fellow agent Jimmy Colton who is murdered before he could reveal his info about Lakeview. He is joined by Philip 'Scotty' Grayson from Scotland Yard in the investigation.

It's a G-man noir, standard police procedural. They're all in spiffy suit and tie and wearing their hats. They talk in that hardened police tone. It has the police narration. The plot is a straight investigation with the standard twists and turns. The story is ripped from the headlines. It's a well-made police noir.

I've watched this film last year, and it is quite good. It keeps you in the edge of your seat all the time. As mentioned here it is from the time that Hollywood begun making movies against communism.

The film's stark and scrumptious cinematography is why you should watch. George Robinson and Edward Colman do an absolutely fantastic job. Noir fans will appreciate the film's use of shadows to create a tense mood.

The plot will hold your interest: with the help of a U. S. government worker(s) top secret atomic research work is being stolen by a communist spy ring. FBI agents, with the aid of Scotland Yard, work against time to stop the theft.

Louis Hayward plays the Scotland Yard agent and Dennis O'Keefe is his FBI counterpart. The two have chemistry together.

There is a blandness, though, to much of the crime investigation procedural part of the film - which is extensive. There's no love interest for any of the main characters. In fact, there's only one female character in the film and she doesn't have any substantial speaking lines until late in the movie.

Walk A Crooked Mile finds Louis Hayward as a Scotland Yard man and Dennis O'Keefe as an FBI agent finding themselves on the same case in their respective countries. Finding it convenient and necessary they join forces to track down Communist spies looking to steal data on an unnamed atomic project in southern California.

Columbia Pictures was imitating the documentary style drama so popularized at 20th Century Fox by Henry Hathaway with such films as The House On 92nd Street, The Street With No Name, and Call Northside 777. Certainly Hayward and O'Keefe are a stalwart pair of agents defending their respective country's interests in the Cold War.

This whole thing begins with a murder of an FBI man who was right in the middle of calling O'Keefe with some hot news about a suspected Communist he was trailing. O'Keefe is the head of security at a defense plant where atomic research is being done. It doesn't take a man versed in rocket science to know something big is afoot. Along the way Hayward comes into the case and the two of them track down the espionage that's been going on.

Onslow Stevens as the brains and Raymond Burr as the muscle in the Communist cell are a fine pair of heavies. Atomic scientists suspected of the treason include Carl Esmond, Louise Allbritton, Art Baker, Lowell Gilmore and Charles Evans. One of them's a dirty red.

When Burr gets the drop on Hayward and O'Keefe temporarily, they get some help from landlady Tamara Shayne. It's a good small role and she steals the film from all the rest.

Cooperation on espionage cases is nothing new. We're seeing it now in the War on Terror. The Rosenberg case was started because of the original apprehension of Klaus Fuchs by British Intelligence who traced the activity to America. The Igor Gouzenko espionage case was solved by the Royal Canadian Mounted Police in Canada.

By the way, one wonders if the unnamed atomic project they were all concerned about was the hydrogen bomb. Nuclear fusion was just starting to get out of the theoretical stage at this time.

Walk A Crooked Mile is not a bad spy film. Another cinema tribute to the FBI in peace and war.

Walk a Crooked Mile was filmed almost entirely on location. FBI agent Dan O'Hara (Dennis O'Keefe) and Scotland Yard operative Philip Grayson (Louis Hayward) team up to investigate a security leak at a Southern California atomic plant. The investigation takes place in San Francisco, where a communist spy ring flourishes. Actors as Raymond Burr and Philip Van Zandt play the communist agents.

The documentary technique gives a factual gloss to the melodramatic format. Action moves back and forth between San Francisco and the atomic plant in southern California. Gordon Douglas' knowledgeable directing keeps the film moving forward. He manages to build suspense through misdirection. The method used to take information out of the atomic plant is well protected thus keeping you guessing.

The movie is typical 40s and early 50s film noir.

Two things particularly drew me into seeing 'Walk a Crooked Mile'. One was the suitably foreboding title. The other was a nice concept in a genre that has always been a favourite, with many great films in it. Very interesting seeing Louis Hayward in a role never seen in this way before, or at least from my experience. The advertising is not much different from the advertising of other films in the genre or similar, but that didn't matter too much to me.

'Walk a Crooked Mile' is worth a viewing, even if in my view it isn't a must or a genre classic. For me, it was slightly above mixed feelings level. Really appreciated its pull no punches approach and was really surprised by how well Hayward came off, but also really wished that the ending was so much stronger than it turned out. There is a lot to like about 'Walk a Crooked Mile', but it is also a film that is fairly easy to criticise even when taking it for what it is (so not to expect high art).

It does have moments of stylish and moody photography and eerie lighting. The music is suitably ominous without over emphasising the mood. The direction is suitably assured and shows a command and understanding of the genre. Much of the script is fine, really liked its tautness and grit.

A tautness and grit that is present in the uncompromising and sometimes brutal storytelling, which has some nice tension and entertainment value. Its documentary noir style structure is fascinating and is handled very well, not gimmicky or too heavily used. Hayward is hard boiled yet also understated, nothing melodramatic. Dennis O'Keefe is even better and the two work very well together.

However, 'Walk a Crooked Mile' could have been more. The low budget does show at times in the sparse settings and some rushed looking transitions. Some of the dialogue over-explains a little too much, especially the overused narration.

Did wish too that the ending was less anaemic when it came to the suspense and that it was less predictable, that final decision is so cliched and tacked on to the point it jars and doesn't make sense.

Overall, decent. 6/10.

I have no objection to crudely anti communist 50s flics. Loved "Pickup On South St". What I do mind is a boring, crude anti communist movie, such as this one. I mean, how else would you describe a film whose main virtue, by far, is the location shooting? Solid C.

Walk a Crooked Mile is directed by Gordon Douglas and adapted to screenplay by George Bruce from a Bertram Millhauser story. It stars Louis Hayward, Dennis O'Keefe, Louise Albritton, Carl Esmond, Onslow Stevens and Raymond Burr. Music is by Paul Sawtell and cinematography by George Robinson.

A Scotland Yard detective and a FBI agent investigate what looks to be a spy ring infiltrating a top secret Nuclear Physics centre.

To fully get the drift you really have to understand the era when films like this were produced, a time of The HUAC and Cold War paranoia, when Hollywood itself was under scrutiny to weed out supposed communist infiltrators.

Good pro Gordon Douglas directs in a semi-documentary style - complete with Reed Hadley stentorian narration - in what turns out to be a decent spy like thriller. J. Edgar Hoover stuck his oar in to ensure no sanction of how the FBI looked was granted, which actually gives the pic some kudos, as does the superb Frisco location filming. It's nicely photographed in a noir style by Robinson, which lends one to lament he didn't operate more often in that style of film making. While perfs are absolutely fine, with Burr not for the first time in 1948 proving to be a great nasty presence.

Narratively it's hit and miss, the fear of the communist is solidly played, but actually the fear of the scientists is probably more sneakily bubbling away under the surface. There's a brilliant sequence of events that ties into Nazidom, with a landlady holding court for maximum impact, and for dramatic purpose the torture sequence and inevitable shoot out hit the right requisite notes.

Not a must see in the realm of Cold War/Spy Ring pictures, but entertaining and well mounted enough to keep it well above average. 6/10

The narration was a bit overdone, but the documentary style "Red Menace" thriller was pretty good.

Douglas kept the flag-waving to a minimum, except for the near vomit-inducing scene with the landlady, so the espionage story could shine.

The film is said by cinema historian J. Hoberman to have been inspired by the case of Edward U. Condon, a distinguished scientist on the Manhattan Project who resigned in protest of the heavy-handed security policies of General Groves. Condon later fell afoul of the HUAC; one of its reports, calling him the "weakest link" in nuclear security, haunted him for years. The movie obviously took the HUAC point of view, wildly exaggerating inflated rumors and false charges that Condon had been a spy.

Interesting docunoir about atomic/nuclear formulas being syphoned out of the Lakeview facility in the USA and finding their way into the iron curtain via the UK.

This is a very early example of FBI-Scotland Yard cooperation, showing the sophistication that already existed immediately after WWII, in spite of much more rudimentary spying technology than we have today. Amazing how sound was recorded on LPs, and 16 or 8mm cameras were used at stakeouts.

With Reed Haley as the narrator, the viewer gets the low-down on an intricate international operation to detect why fomulas are spirited out of the USA in art form -- paintings which, as agent O'Hara (O'Keefe) memorably points out, only suffer from having "too much red" in them.

As ever, O'Keefe is very convincing as an FBI agent, Hayward likewise as his Scotland Yard counterpart, and you can see that it is not the beginning of a beautiful friendship, but one that is already firmly in place.

Massey would have deserved a better part, and I found Onslow Stevens and Charles Evans very effective and chilling top villains. Allbritton is a beautiful woman, pity we see so little of her

Photography and action sequences top notch. Recommended.

The bland narration and flag waving don't take up too much time but get the film off to a bland start and wrap things up with equal blandness. Inbetween the equally bland resolution and set up, director Gordon Douglas unleashes some nasty violence, an agent is shot in the heat right on screen, you see the blood spot hit his head, a nasty dead body here and there later on one scene obviously trimmed down of a dying man spitting blood out of his mouth. Unfortunately the 91 minutes pass pretty slowly in the, now boring, G man procedural details of how a recording device or a one way mirror works. Not the film's fault at the time but a dated dull element now. The one thing the film does do a decent job of is trying to keep you guessing about who the real spy is. Though you don't know unfortunately it's hard to care. Again time has removed the background needed. That background being that "RED" agents did steal the secrets of the Atomic Bomb and stole America's control of Atomic weapons. That was a big deal and helped kick off wild "red" fears. There were a number of "red scare" movies, this one holds up as credible and well made, but there isn't enough real drama or characterization in the writing to give it any real personality or interest, the good guys are pretty dully drawn and only competently acted. One scene stands out with a land lady that has both flag waving and some real drama to it. That, and the few moments of still somewhat shocking violence, still work. The rest is pretty dull. Well done but without enough flair to overcome being pretty forgettable. Lack of a music score help add to the leaden feel.

Walk a Crooked Mile is from 1948, starring Dennis O'Keefe and Louis Hayward, directed by Gordon Douglas.

Crime films of this era were often narrated - this one is heavily narrated by Reed Hadley.

The plot concerns a security problem found at Lakeland, an atomic plant in southern California. Someone is leaking scientific formulas to an enemy, working them into paintings. The enemy, talking about a world revolution, sound like Communists.

From across the pond, a Scotland yard agent (Hayward) joins the FBI agent (O'Keefe) in tracking down the mole.

The producer, Edward Small, refused to allow the FBI to see the film, so it did not have FBI approval.

Very well done, intriguing procedural film that keeps the viewer absorbed as to whodunit and how.

Raymond Burr and Philip van Zandt are two of the enemy.