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This movie was made from a tiny, now classic 1938 book by Kressmann Taylor (her full name was Kathrine Kressmann Taylor) that was written in the form of letters only between the two lead characters.

As such it is not only a brilliantly conceived horror story of how an evil idea poisons a society but how it continues on to destroy life.

The small book was re-issued in 2001 by Washington Square Press and at this writing currently available. No matter how you reacted to the movie this is a must read. It can be read in a single, short sitting but it packs an incredible wallop. The little story is compared to the best writing of O. Henry for its sly plot twists and lauded by Kurt Vonnegut who compares it to WWII as what Uncle Tom's Cabin was to the Civil War.

You can then return to the movie and enjoy it at a far deeper and more profound level. Beyond all of that…if Paul Lukas is in a film, any film, you can trust that it is worth watching if only for his performance.

"Address Unknown" is a 1944 film starring Paul Lukas, which is based on a story of the same name by Kressman Taylor. It's directed by William Cameron Menzies, best known as an art director, and also stars Morris Carnovsky, Peter van Eyck, the later blacklisted Mady Christians, and K.T. Stevens.

The story concerns two German art dealers in San Francisco circa 1932, Martin (Lukas) and Max Eisenstein (Carnovsky). It falls to Martin to return to Germany with his family to buy and ship art work back to the U.S. gallery. With him and the family is also Griselle, Martin's son's (van Eyck) fiancée, who has acting aspirations and wants to work overseas.

Martin becomes seduced by the "new Germany" under Hitler and becomes friends with a baron (Carl Esmond) who encourages him to break ties with his Jewish partner, which he does. The baron also learns that Griselle, who uses the last name Stone, is Jewish. Griselle has a part in a play, and the Nazis have forbidden certain lines to be spoken from the Beatitudes. Griselle says them anyway, and, outed as a Jew by someone at the performance, she runs for her life. She makes her way to Martin's place, where she is turned away.

Martin starts to receive letters from Max that are written in obvious code, giving dimensions of Picassos and having certain numbers substituted for numbers previously sent. The baron warns him that sending and receiving codes is illegal. Martin denies that he is receiving coded letters, meanwhile begging Max to stop writing to him.

The film is very well done in a film noir style, and you can't go wrong visually with Menzies and with Rudy Mate on the camera. The shadows and camera angles are striking, particularly in the play scene and when Martin is alone in his house toward the end of the film. Well worth seeing for the art direction and cinematography alone.

In the actual story, Martin and Griselle have had an affair previously, and Griselle is actually Max's sister. The joke painting that Martin sends back to San Francisco that Max tries to hide from a customer is actually a Picasso - I'm not sure that was made clear in the film.

The action in this film, Martin's turning etc., take place seemingly very quickly and don't come off as believably as in the book, which is actually a series of letters. It has been republished, translated into many languages, and also turned into a play and adapted for radio; it was considered very important at the time it was published, so important that it was felt "too strong" to have been written by a woman, so Katherine Taylor used her maiden name instead to get Kressman Taylor.

The ending pf the film is unexpected. Very suspenseful and absorbing and amazing to look at - with a wonderful performance by Paul Lukas and the rest of the cast - Address Unknown is highly recommended.

I say this movie is good but a bit late because this tale of the progression of Nazism in Germany is very good but the timing awfully late. When the first film debuted, WWII was practically over--whereas films with similar themes, such as "Mortal Storm" came out before the US entered the war--and did a lot to turn public opinion against Nazi Germany. Heck, in 1944 saying the Nazis were bad and repressive wasn't exactly controversial in the United States--as we'd been fighting them for three years!

The film begins in the 1930s. Paul Lukas and his wife and kids (minus the oldest one) are leaving the US and moving back to Germany. They also decide to take their god-daughter (who is Jewish). Once there, Lukas slowly turns from a nice family man to a Nazi-lover. In the process, all sense of right and wrong seems to disappear from him. And, when his beloved god-daughter is in trouble, he refuses to help. At this point, there is a neat twist in the film involving coded messages and revenge. I won't say more, as it would spoil the film. Suffice to say that this twist gives the film a nice and fitting ending.

The acting, mood and story are all quite good and the film worth seeing. While not a great film it is clever and well-written--and a very good propaganda film to galvanize the folks at home in the war effort.

For a brief period, by dint of the Oscar he won Paul Lukas became leading man material. In Watch On The Rhine he played an anti-Nazi fighter. In Address Unknown Lukas tries the other side of the fence, playing a man who is seduced by Nazi ideas and makes a Faustian bargain for expediency.

Lukas and Morris Carnovsky play partners in San Francisco with their art dealing business. Nursing a bit of nostalgia for Germany, the Wilhelmine Germany he grew up in Lukas moves back to Germany as he says it might be better business wise for him to acquire the art on the scene and for Carnovsky to sell it in America. With the exception of his oldest son Peter Van Eyck who stays with Carnovsky, Lukas moves wife Mady Christians and his children back to Germany post World War I. Later on Carnovsky's daughter K.T. Stevens goes to Europe to pursue her acting career. Carnovsky is also Jewish.

Which is not looked kindly on by people who are rising in power. But Lukas who probably was not all that political is seduced by all the promises the Nazis and their leader. He gradually loses his entire moral compass. In that he was far from alone. K.T. Stevens is the one who loses her life tragically.

Lukas and Carnovsky are an interesting story of old friends torn apart. Carnovsky registers well as a man who cannot believe his old friend has turned on their past friendship and what it meant for business and personal reasons. Carnovsky cannot comprehend what is happening in the old homeland. In that he wasn't alone, those targeted by the Nazis including Jews couldn't quite believe it either. Remember Address Unknown was made before the concentration camps were liberated, but rumors were growing stronger by the day about what was happening.

As for Lukas he's brilliant with what he does as a man who loses it all. The ending is a truly original piece of vengeance and betrayal of Lukas, fitting payback for all he betrayed.

Address Unknown got two Oscar nominations for Art&Set Design and for music score. With William Cameron Menzies directing I'm sure he had a big hand in creating the set that got said nomination. But with what he does with Lukas and Carnovsky, Menzies shows how well he can direct people too.

One of the better films to come out of the World War II era it holds up brilliantly for today.

I very much dislike reviews which recount the plot of a film and reveal spoilers so all I will say is that this is a film worth actually watching rather than having it on while you are messing about with your phone or tablet. There are many cleverly shot scenes which mirror the action of the story and hint at shadows to come.

I feel that the opening scenes are very good and authentically display the friendship between Max and Martin and their families and this of course makes the story all the more powerful.

I have read the short story/book on which the film is based - it is available to borrow from the Internet Archive on line free library - and in my opinion this one if the rare occasions when the film is better than the book, largely due to the devastating end twist in the film.