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The movie's timing is interesting. The release date is Feb., 1942 (IMDB), just two months after Pearl Harbor and America's entry into WWII. Clearly, the film's intent is to both inspire audiences and warn of foreign enemies. But the conspirators in the movie aren't identified (with one irrelevant exception). As a result, I'm surmising the screenplay was completed before Pearl Harbor, but war was nevertheless clearly imminent. Had production gone beyond PH, I think the enemy would have been clearly identified. Anyway, it's a rather interesting aspect of the movie's context.

With its flag-waving title, no one expects anything deep or probing. Rather, the plot honors an idealized "average" American, Joe (Young), whose fortitude and ingenuity thwarts an (unidentified) enemy's attempt to steal a revolutionary bomb-sight. The narrative ties Joe's courage to that of the heroic Nathan Hale's famous "… but one life to give for my country." Thus, America can face confidently into the War knowing that average Americans retain the heroic stature of old.

I like the first part showing Joe's work and home life. Surprisingly, events resist descending into treacle, mainly because of actor Young and a refusal to sentimentalize him—(He believes in God, but as a working man he sleeps in rather than going to church). At the same time, Hunt's idealized housewife is dutiful and supportive, the way a wife was expected to be.

The second half, however, drifts into plot contrivance and pedestrian violence. Still, I like the way Joe tries to use happy time recollections to get him through the ordeal. Then too, the flashbacks fill in the earlier period of Joe's blissful courtship and marriage to Mary (note the Biblical first names), rounding out their background with patriotic rituals. (btw, as of 2017, she's still with us at age 100!).

Not much of an analytic nature should be expected from this glimpse into wartime ideals. Nonetheless, the cast remains a winning one, along with smooth direction (except for the closing twist), and realistic locations. All in all, thanks be to TMC for digging up this obscure but revealing artifact.

I haven't seen this movie in about 40 years but it scared the daylights out of me as a kid. To me Robert Young was Jim Anderson, the exemplary dad of Father Knows Best. So it was really disturbing to see him captured by enemy agents and tortured. I don't remember what they did to him but it was terrible. It seems like they smashed his fingers with pliers. Another cool aspect of this movie is the way Robert Young was able to remember the way to the enemy agents' hideout by sound, even though he was taken there blindfolded. To this day I try to listen to what things sound like whenever I am traveling some place, in case I have to go back there again.

This movie also has an excellent visual texture to it -- shot in black and white with terrific use of shadows, sinister bad guys in dark clothing, bulky old cars.

This film deals with a man called Joe Smith, (Robert Young), who works in a airplane factory and is assigned to working on a new bomb-sight and has knowledge of the blue prints which is top secret. Joe is married to Mary Smith, (Marsha Hunt) and they are a very happy couple until one day Joe is kidnapped by four men who want all the information concerning Joe's knowledge of the bomb-sight plans. Joe is beaten and blind folded and as he is being transported Joe uses all the sounds that he hears while riding in a car to locate just where the kidnappers are taking him. This is a great B film and is very well produced and directed and Robert Young and Marsha Hunt give an outstanding performance.

Refreshingly free of cant and surprisingly low on propaganda, Joe Smith American is one of the best 'B' features you'll ever see--it was so good, in fact, that it opened in 1942 atop the bill at movie theatres in New York City. Robert Young plays the titular character, an all American 'Joe' who won't spill his guts about a secret bomb sight to the bad guys--even after being tortured and threatened with death. The torture sequence is surely one of the most grueling things committed to celluloid from the period, and in addition to being spectacularly shot by Charles Lawton Jr. was masterfully lit by one of MGM's superbly trained and uncredited craftsmen. The cloth binding used to blind and gag Young, coupled with the narrative use of his inner voice, anticipates the bleak and distressing Johnny Got His Gun by thirty years. And while the film is certainly a tribute to American patriotism--witness the fascinating schoolyard rendition of My Country Tis of Thee, complete with an odd fascist style salute to the flag--it pointedly allows Young's character to sleep in on Sundays and miss church!

This one came so Early after Pearl Harbor that it can be seen more as a Rousing Call to Arms and is often Mislabeled a Propaganda Piece.

It is also so "In Your Face" and Unambiguous in its Flag Waving that it actually seems Refreshing because it is so Honest.

Everything here is Quintessential "Americana". The Title, Married Couple with Child in Suburbia, the Pledge of Allegiance (without "Under God" by the way), the Nathan Hale Story, the Factory, References to Church Going and Sunday School, Home Mortgages, the Kid's Writing Tablet, and more.

It's Surprising Robert Young didn't ask His Wife to Pass the Apple Pie when They Gather for a "Father's Day" Dinner.

Taken at Face Value (and that's all there is) it is a Good Thriller with a Brutal Torture Scene, made Tolerable by Flashbacks of more Americana and a Patriotic Voice inside Joe's Head telling Him to "Keep a Secret" for His Family's and Country's sake.

Viewed Today it can seem to Drag its Message Heavy and Long, but it all Works as an Interesting Time Capsule, circa 1942 America through the Eyes of an Average "Joe".