Foreign Correspondent (1940)

In attempting to learn more about a seemingly noble peace effort, Jones (who's been saddled with the dubious nom du plume Hadley Haverstock) walks into the middle of an assassination, uncovers a spy ring, and, not entirely coincidentally, falls in love--a pattern familiar to admirers of Hitchcock's espionage thrillers, of which this is a thoroughly entertaining example. McCrea's hardy Yankee charms are neatly contrasted with the droll, veddy English charm of colleague George Sanders; Herbert Marshall provides a plummy variation on the requisite, ambiguous "good-or-is-he-really-bad" guy; Laraine Day affords a lovely heroine; and Robert Benchley (who contributed to the script) pops up, albeit too briefly, for comic relief.

As good as the cast is, however, it's Hitchcock's staging of key action sequences that makes Foreign Correspondent a textbook example of the director's visual energy: an assassin's escape through a rain-soaked crowd is registered by rippling umbrellas, a nest of spies is detected by the improbable direction of a windmill's spinning sails, and Jones's nocturnal flight across a pitched city rooftop produces its own contextual comment when broken neon tubes convert the Hotel Europe into "Hot Europe." --Sam Sutherland


For inexplicable reasons, Foreign Correspondent never achieved the fame of The 39 Steps or North by Northwest, but it is certainly good enough to join the ranks of these better-known Hitchcock thrillers. Set just before the beginning of World War II, the film focuses on murder, international intrigue, and an innocent Joel McCrea caught between spies and counterspies. Highlights include an assassination on a rainy day with the killer escaping into a sea of umbrellas, a group of spies who signal their Dutch contacts by turning windmills against the wind, and an extraordinary climax aboard a plane that crashes into the ocean. In McCrea's final speech, you can hear the British filmmaker uniting American patriotism with the anti-Nazi cause. --Raphael Shargel