British Intelligence (1939) User Reviews

Note on Espionage Tradecraft used in Movie

[eroche · 7/10 · 17 February 2007]

These are notes on the type of espionage tradecraft used in the movie:

1. Communications

(a) Use of special "Morse Code" (in a German version) for secret communication between conspiring agents, even when others are listening. Example: Spy 1 at typewriter pretends to type (manual typewriter), but just keys in "X" characters, but in code pattern that purposefully is within hearing distance of nearby agent Spy 2.

(b) Use of short-wave radio. (but encrypted, and also "cleartext" during an emergency when there was no time to encrypt)

(c) Use of carrier pigeons (to fly hand-written messages from the UK to Germany (or to some pick up point))

(d) Code words. Use of secret code words, part 1 a "challenge" phrase, part 2 a "response" phrase. Agents used this within the context of ordinary conversation in order to identify each other without onlookers noticing.

2. Espionage Network

(a) A "chief of station" type (played by Karlov), who is disguised as a lowly butler.

(b) Even the other German agents do not know the true identity of the chief. They know he is part of the network, but he claims to be "taking orders" from the chief. He, of course, is actually the chief.

(c) Couriers. The milkman serves as a courier for information. Karlov as the "butler" each day gets fresh milk (delivered in those days by kart) and used the opportunity to pass on important information. Sometimes the information is spoken, sometimes passed along in a letter.

(d) Radio man. Separate person is assigned task of collecting information, encoding it, and transmitting it to Germany.

(e) Feigned death. One of the German agents, fakes his death in order to help cover up his activities, but is observed.

3. Counterintelligence

(a) Use of "deep plant" British agent who penetrates German intelligence then comes to the UK pretending to spy on the British, but with the single intention of helping locate the "chief of station".

(b) "Legend". The German agent is given a life story, completely false, that arouses sympathy, allowing them to be "taken in" (e.g. hired) by a targeted British family. (It is targeted because it is elite enough to be involved with British military or government.)

In general the story line is written in a way that only at the end are the true sympathies of the different agents and double agents known.

Will the Real Dastardly German Spy Step Forward!

[lawprof · 7/10 · 23 August 2004]

"British Intelligence, from 1940 when Britain was locked in deadly combat with Nazi Germany, tells a tale of German espionage in The Great War (aka The War to End All Wars). Well-acted and with a tricky plot that leaves the viewer guessing who is a loyal Brit and who is a Kaiser's spy, the one-hour film also delivers at beginning and end a hefty, grave propaganda message warning that those Germans can be trusted - to produce warmongering megalomaniacs.

Boris Karloff is Valdar, the butler/valet every man wants. Obsequious and efficient, he claims to be a refugee from war-scarred Euope, a fellow who has lost his family to the murdering Hun. He is ensconced in the home of a powerful Englishman who consorts with the cabinet. Projected into the household in a convenient but not necessarily convincing way is Helene von Lorbeer, played by the very pretty Margaret Lindsay who had a good run in both "A" and "B" pictures in the 30s and 40s before she decided to fatten up thus losing her screen sex appeal.

Helene under another name was a nurse in a British field hospital and she took care of the wounded RFC pilot son of the man in whose home she is now a guest. They fall in love but she can't let him know that since she's a Florence Nightingale with a Mata Hari mission. Of course the recovered pilot returns home to find her there.

British Intelligence desperately needs to terminate a German master spy, Strengler. Who is he? How is he able to glean military secrets before, as one exasperated senior officer exclaims, junior officers are even briefed on the operational plans.

What follows is a fairly taut cat and mouse game seeking the deadly spy.

It's good fun, nice acting. Director Terry O. Morse, who edited more films than he directed, did a better than average job here.

Dated, of course, but that's part of its charm. I wonder if London moviegoers in 1940 needed to be exhorted by speeches denouncing the depraved Boche. Probably not but I'm sure they appreciated Karloff and Lindsay.

7/10

User Comments

[dexter-10 · 5/10 · 8 January 1999]

This is an especially interesting film because although on the surface it is about WWI, it seems essentially about patriotism and fifth column activity for the coming WWII. It's second release as Enemy Agent (1940) testifies to the notion that the film is prophetic rather than historical. In fact, while watching the film it is very easy to forget that it has anything to do with WWI, except in terms of the young soldier who reappears late in the plot, originally having been introduced as wounded in a German hospital. Also, the statement by Thompson of "How many millions have been killed...and how many millions more must die just because one man sets himself above the almighty" seems like a timely reference to Hitler.

Compact spy thriller with excellent performances from Karloff and Lindsay

[csteidler · 7/10 · 21 January 2012]

As one spy to another, Boris Karloff offers some advice: "The only way to be someone you are not is to be that person always, even in the presence of friends." This is a picture that keeps us guessing—just who is each person? It's a clever and very entertaining wartime thriller in which no one's identity is clear.

Set in 1917, the action is presented as directly relevant to the current events of 1940; more than one speech steps aside from the actual plot and appeals to an audience who would know exactly what was meant by references to future wars and to future lunatics who would again want to take over the world. The film's final speaker actually turns straight on to the camera for his inspirational closing sentences—the kind of exhortation that was frequent in WWII era films, that we rarely if ever see in pictures from any other era, and that can be strangely stirring even at this great distance.

Boris Karloff and Margaret Lindsay are both excellent, especially in their scenes together: their eyes are wonderfully expressive as they watch each other, play their roles, calculate loyalties and next moves.

Favorite moment: the late scene at the center of which Karloff purrs, "Excellent. But I'm afraid it won't quite do."

Definitely a spy vs. spy quickie worth watching.

Old Fashion Spy Thriller of Historical Value and Still Fun

[jayraskin1 · 7/10 · 18 December 2010]

There aren't that many World War I spy movies around. At least I haven't seen that many. Hitchcock's "Secret Agent," (1936) Sternberg's "Dishonored" (1931) and Garbo's "Mata Hari" (1932) are the only three great classics I have seen. Blake Edwards's "Darling Lili" was a waste of celluloid.

Made at the beginning of World War II (1940), there are clear reference to the war situation at that time in this movie. The talk about madmen taking over the war is clearing about Hitler and not the Kaiser.

The movie showed bombing raids against London from both zeppelins and aircraft. I assumed that these were fictional, but I was surprised to find out that there were a few zeppelin raids and 22 aircraft raids against England in the war.

Acting by Boris Karloff (creepy and effective) and Margaret Lindsay (subtle and clever) make the picture a lot of fun to watch. Although the plot is overly complicated to follow and jumps around a bit too much, there is a surprising amount of tension built up over who are the real German spies.

Some people have complained about how easy the spies had it in the movie. They seem to just need to lurk a bit and they overhear all the war secrets they need. We should remember that people were more trusting back then and the idea of an organized spy ring was quite fanciful. Today we have an ultra security conscious society.

This is a fun and easy to watch 62 minutes. I would recommend it for any spy film fan and any Boris Karloff fan.

I wonder if the name for Harry Potter's arch-villain, Valdemar, had anything to do with the name of Karloff in this movie, Valdar.

Very Good For Its Genre

[Snow Leopard · 11 January 2006]

This is very good for its genre, with an interesting story, solid atmosphere, and two good leading performances from Boris Karloff and Margaret Lindsay. Made during the early part of the Second World War (when England was enduring constant air assaults and other threats), and set during the First World War, there is an obvious patriotic slant to it. But aside from a short speech by one of the characters at the end of the movie, it mostly allows the story and characters to stand on their own.

Karloff and Lindsay star as two very resourceful spies who are planted in the home of a prominent English family, with most of the story revolving around whether they are spies on behalf of England or on behalf of Germany. Karloff is, of course, especially good in a part like this, giving his character a believably ingratiating manner in his cover role as a butler, and a steely eye in his unguarded moments. He makes it easy to believe that his character can keep everyone else in the dark.

Lindsay gets one of her best roles, and she makes full use of it. Her character obviously has weapons much different from those of Karloff's character, and she too is believable in keeping the others, even Karloff, guessing.

The story moves at a good pace, and it features several good turns as it builds up the tension. Like many movies of this kind, there are places here and there where it could have been improved. In particular, its portrayal of Britain as a traitor-riddled society threatened with imminent collapse shows the strong influence of the frightening times in which it was filmed. But in its time it probably provided some genuine encouragement, and today it still remains an enjoyable movie that is well worth the time to see.

Rather enjoyable spy thriller

[chris_gaskin123 · 7/10 · 3 February 2005]

In between making horror pictures at this time, Boris Karloff made this spy movie and I quite liked it.

A female German spy is sent on an undercover assignment to live in London with a British official where she teams up with the butler there, Valdar, who is also a spy. While there, she helps him to transmit secret war plans back to Germany but are found out at the end and Valder is shot and the lady spy falls in love with one of the residents where she has been staying.

Valder is played well by Boris Karloff and the female spy is played by Margaret Lindsay. The cast also includes Bruce Lester and Holmes Herbert.

British Intelligence is worth seeking out, especially for fans of Baris Karloff.

Rating: 3 stars out of 5.

Spy ring

[greenheart · 6/10 · 22 November 2011]

For a minor war movie, this wasn't too bad. Cross, double-cross, double, double-cross....well, you get the idea. The whole idea of British intelligence staring Boris Karloff immediately contradicts itself. Karloff plays his usual type of role and looked like he hadn't slept in at least a fortnight. Margaret Lindsay stole the show for me with a charming and well-judged performance.I guess the secret of this movie's success for me, is that I was never entirely sure until the end, just exactly who was on which side. It's all about suspense and tension and this movie just about pulled that off. A few clichés throughout, but this was made in war time and are therefore forgivable. A stirring speech at the end to round off a movie that kept my attention and is worth a view.

London's crawling with spies in this recycled stage potboiler

[LCShackley · 5/10 · 14 November 2008]

"British Intelligence" is a moderately successful WW1 espionage thriller, with perhaps too many coincidences and double-crosses for its moderate length. Spies change sides with such regularity that scorecards should have been passed out along with ticket stubs.

This is a recycled stage play from 1918, obviously brought back for its propaganda value. That also explains why it's so claustrophobic. How many good spy movies spend most of their time in a few indoor locations?

Having recently watched a number of spy films from 1939-1950, I'm left with the impression that London was virtually crawling with German agents, disguised as porters, milkmen, secretaries, butlers, etc. But historical evidence shows that the Abwehr was fairly inept at placing spies and saboteurs during WW2. (Check out "Agent Zigzag" by Ben McIntyre, a book which deserves to be a movie.) Most of the problems in these movies could be solved if high-ranking Brits would stop talking about secret plans in front of open windows, or sinister-looking office staff. Who was vetting these other employees?

There are some fine aerial sequences to relieve the claustrophobia, especially the destruction of a munitions dump, and an eerie nocturnal zeppelin raid over London.

Boris Karloff is given top billing for one of his least convincing performances. Of course, he has the chance to loom and lurk (his trademarks), but his French accent is so bad that any moron could tell he wasn't who he claimed to be. (And what about that name "Valdar" - sounding more like a Transylvanian than a Frenchman?) The ending of the film will come as no surprise to anyone who has watched more than a handful of spy films.

Three speeches in the film (one by a German in spiked hat; two by Brits) were obviously inserted in this WW1 drama as warnings about the rise of Hitler. If there's any doubt, the final speech is delivered straight to the camera, reminding Britons that "we hate war, we despise it, but when war comes we must and will fight on and on and..." (fade to black).

"The British would give an entire Army Corps to capture him"

[hwg1957-102-265704 · 6/10 · 16 March 2018]

During World War I the spy Helene von Lorbeer goes to London to stay in the home of the cabinet minister Arthur Bennett as a refugee and meets with fellow agent Valdar who works there. Slowly it is revealed what the true mission is and the identity of the German spy master Strendler whom the British secret service have been after for years. It's a decent well written film and although set in WWI there are obvious parallels with WWII. Pointedly so. The director keeps the film moving on apace up to the explosive climax.

Boris Karloff is excellent as Valdar and Margaret Lindsay, always an under rated actor I've always thought, is good as Helene. They are supported by familiar and able actors;Leonard Mudie,Holmes Herbert and Bruce Lester. Paul Panzer plays a peasant. It was based on a 1918 play and mainly takes place in one house reflecting its stage origin though there are outdoor scenes.

A good film with an interesting plot and capable acting.

The British Were Giving Up A Lot To Catch This Master Spy

[bkoganbing · 5/10 · 12 November 2008]

This World War II flag waver with obligatory references to the World War II situation which was wholly unlike what brought us to World War twenty five or so years earlier, concerns British Intelligence and their effort to trap a master spy. Given who's in the cast you kind of know what the result will be in the end.

Margaret Lindsay is a German agent, planted in the home of a cabinet minister during World War I with one objective, make contact with the guy who's the chief German spy in Great Britain. Her immediate contact is Boris Karloff who is a French refugee employed by the minister, Holmes Herbert as a butler.

The one thing that comes through in this film is that our friends across the pond want this guy bad. They're willing to let all kinds of information go which result in the sinking of ships, losses of factories, men on the western front, all that to make sure their cover is not blown. Of course it all works out in the end.

With casting that's not so obvious and with elimination of all the flag waving which is overblown because it is attributing things to Wilhelmine Germany that are true for Nazi Germany, it could have been a much better film.

Historically Relevant Time-Piece

[LeonLouisRicci · 8/10 · 25 July 2014]

You don't have to be British to Enjoy this Nifty Bit of Espionage Made at the Onset of WWII, but it will Help if You are Intelligent. That will Aid in Keeping All of the Player's Loyalties Straight so You Know who to Root for.

But that may be Part of the Charm in this Propaganda Piece that Uses WWI to make its Declarations of War Against Germany in WWII and its New Leader's Megalomania. It is a Short, Busy Thriller that Weaves More Threads than an Expensive Suit. Keeping it All in Line is a Strain on the Entertainment Value, but the Movie Never Ceases to be Entertaining.

The Use of Stock War Footage is Excellent and Packs a Punch. Boris Karloff has a Scarred Face, a Limp, and More Accents than You can Care About. But He is the Deformed Centerpiece in this Table Set with Spy vs Spy vs Spy vs Spy. In Fact Everyone is a Spy and They are doing Spy Stuff Everywhere.

Overall it is a Neat Time-Piece that has the Added Pleasure of Speechifying about the Kaiser and Germany when They Actually are Referring to Hitler and Germany and to Wrap it All Up there is One Last Shout Out to the World about War and We Hate it, but We Fight it all the While Staring Straight at the Camera. Indispensable and a Bonafide Historical Treasure.

Stiff Upper Lip Intelligence.

[morrison-dylan-fan · 6/10 · 27 May 2013]

With my 8th IMDb anniversary being on the same day as a bank holiday,I decided take advantage of the day,by taking a look at Boris Karloff in a non-Horror role for the first ever time.

The plot:

Taking advantage of having recently won a battle which has forced The Allies to retreat,a German army officer decides to send double agent Helene Von Lorbeer undercover to a house that is used for meetings by the UK government.

Arriving to the house,Lorbeer is met by a fellow undercover agent called Valdar,who tells Lorbeer that she must watch her step as she gathers information from government minister's.As Helene starts to get deeper into the workings of the government,Lorbeer begins to fear that some minister's may be starting to come suspicious of her true identity.

View on the film:

Mostly going against the grain of the time, (with the exception of the flag waving ending) in his adaptation of Anthony Paul Kelly's stage play,the screenplay by Lee Katz tells the story of the film from the point of view of the German's,with Katz gradually increasing the tension as he reveals the lengths that the German's will go to for picking up any information on The Allies.

Backed by a lively score from Heinz Roemheld and Bernhard Kaun and also having a surprisingly good public domain print,director Terry O. Morse superbly uses candle lights to create a chilling espionage atmosphere,with Boris Karloff emphasising Morse's chilling feel with a very good creepy performance,and the cute Margaret Lindsay giving a good performance which shows Von Lorbeer's increasing fear of her true identity being uncovered by British intelligence.

Somebody gave this little film a 10?!

[planktonrules · 5/10 · 23 September 2007]

Boris Karloff and Margaret Lindsay both play undercover agents, though until the very end it isn't possible to know exactly who was on which side during this film set in WWI. There is simply so much spying and counter-spying and double-agents that you almost need a scorecard to keep track of it all!

British INTELLIGENCE is a competent time-passer and not a whole lot more. Because of this, I was shocked to see that one of the reviewers on IMDb gave it a 10. Sure, I could see possibly scoring it a bit higher than I did--but a 10 for a film that is so slight and ordinary, I don't think so. My reasons for scoring it lower than the other reviewers are that the film just isn't all that exciting plus with Boris Karloff in the film I was hoping for something more. I know that making him a mad scientist here would have been silly, but I have come to enjoy his cheesier pictures and kind of missed this in this film! Instead, he's pretty good as is the rest of the picture, but that it all.

Dual Watching, Lies

[tedg · 25 October 2006]

This is actually quite good.

The setup is easy to describe, you have several spies, two in particular. There's a sort of mystery about where their allegiance lies.

Its a simple idea, but done well, because this was a long-running play, so had the time work out the dramatic and narrative effects, much more attention than the normal script would have.

Its Germans as the bad guys, of course, evil just dripping in the way that it only could between the great German wars.

I like this because of the way it co-opts the detective form. The viewer is drawn in. Clearly there are bad guys and good ones, but you don't know which is which — who to cheer for — until the end. You're drawn in as a sort of virtual detective.

Everyone is watching everyone else. Its the motive and roles you must learn.

Ted's Evaluation -- 3 of 3: Worth watching.

World War I espionage thriller on the eve of WWII

[SimonJack · 7/10 · 30 October 2015]

This movie came out in the U.S. on January 29, 1940. It was nearly two years before America would go to war, but Europe was in it. Britain and France declared war on Germany on Sept. 3, 1939, after Germany had invaded Poland on Sept. 1. But the clear signs of Nazi aggression were apparent as far back as 1936. On March 7, 1936, Germany broke the Versailles Treaty from World War I when its troops marched into the Rhineland. That area west of the Rhine had been off limits to German military. On March 11, 1938, Germany annexed Austria. On Sept. 30, the Munich Agreement with Britain and France allowed Germany to take part of Czechoslovakia.

On Aug. 23, 1939, the Nazis and Soviets signed a non-aggression agreement. And, after Germany invaded Poland, the Soviet Union moved into Poland from the east.

All of this history helps put into perspective this and other movies that Hollywood was making at the time related to war. And, it may help one understand some of the studios reasoning. Did they foresee the real likelihood of America soon going to war? A couple of other reviewers noted that this film seemed to be a combination of a WWI movie and a prophecy of WW II. Of course, as already noted, WW II was well underway when this film came out.

The production qualities of this film seem to suffer some. Some of the sets seem very stagy (it is based on a stage play). The dirigible bombing of London seems amateurish. The bombing scenes appear to have been made with a table model. Antiaircraft lights appear to be white strips of paper pasted on a black background.

But it is an interesting story of espionage and a good look at early British security efforts. The plot is very good and suspenseful. In the opening, it has some good use of WWI film footage. None of the cast are exceptional, but all do a good job. Boris Karloff is toned down in his menacing, monster-like glares, so he is believable as a refugee butler, Valdar. Margaret Lindsay is good as Helen von Lorbeer.

I don't think this is as much a propaganda film as it is a cinematic warning to Americans. And, it's wrapped in a cloak of espionage for entertainment. Perhaps it tweaked minds of audiences back then about what to expect in another world war.

Uncovering a spy in 1917 London

[Tweekums · 7/10 · 12 January 2015]

It is 1917 and as yet another offensive is pushed back it becomes obvious that somebody is forwarding British plans straight to Germany! It is decided that the thing to do is bring Britain's top agent in Germany back home to uncover the master spy, Franz Strendler, but unfortunately these plans are also leaked. Months pass then spy Helene Von Lorbeer is sent to Britain by the Germans with orders to link up with Valdar and agent working under Strendler. Valdar is posing as a French butler working for cabinet minister Arthur Bennett. Von Lorbeer poses as refugee Frances Hautry and soon makes contact as she stays with the Bennetts. It soon becomes apparent that there are lots of German spies in the area although it is possible that there may be double agents amongst them. As the film approaches its end a trap is set; the question is who will it catch and who will be revealed as undercover heroes?

While this film is set during the First World War it is clearly propaganda for the second; more than once people state that once this war is over it will only be a matter of time before another tyrant takes the world to war. These moments seem a little heavy-handed in these more peaceful times. The story is somewhat far-fetched with so many spies operating in the vicinity of the Bennett household and their lack of subtlety; one is exposed while using the clicking of a typewriter to pass on a code in a room with a military man present! Von Lorbeer also cared for the Bennett's son while undercover in a hospital in France; quite the coincidence. Strangely despite all these rather obvious flaws I enjoyed this film; there was a nice degree of tension and often we aren't sure who is a German spy and who is a British double agent posing as a German spy… or even a German triple agent! Margaret Lindsay is pleasant in the roll of Helene and Boris Karloff is nicely over the top as the limping, scar-faced Valdar. Overall this B-movie is hardly must-see but it is a decent enough way to pass an hour.

World War II described as World War I

[blanche-2 · 7/10 · 25 January 2016]

"British Intelligence" from 1940 is a quick film starring Boris Karloff, Margaret Lindsay, Holmes Herbert, and Bruce Lester.

Though it's supposed to take place in World War I, it's really a World War II film about espionage, spies of unknown loyalty, and the German urge to take over the world which surfaces from time to time.

Lindsay and Karloff both play secret agents placed in the home of a Mr. Bennett, a British official who has campaign secrets and troop placements worth investigating. Spies are everywhere, and everyone seems to be looking for a German spy named Stedler. And we're not sure what side anyone is on.

Very entertaining. A combination of spy and mystery story, two of my favorite genres.

"Your objective is to deal a death blow to the Allies."

[classicsoncall · 7/10 · 6 November 2007]

Considering the era and the subject matter, this one is actually quite good. The misdirection with the characters is done in such a way as to keep you constantly guessing, and the revelation of Margaret Lindsay's character actually came across as a surprise to me, even though in retrospect it might have been telegraphed earlier on. In true Warner Brothers fashion, the film capitalizes on patriotism and World War II propaganda to tell the story of spies and counter spies during World War I, a clever enterprise which worked for this viewer. It helped that Boris Karloff was on hand as an undercover German spy operating in a British official's home as a butler. It turns out that Karloff's character Valdar was in fact the German master spy Von Strendler that was constantly alluded to but never introduced, another excellent example of misdirection. The only single element that felt contrived was the insertion of the British flier Frank Bennett (Bruce Lester), who falls in love with Helene Von Lorbeer/Frances Hautry (Margaret Lindsay). The coincidence involved with Bennett being the son of the British official who takes in Miss Hautry defies most laws of probability, but stuff like that is done in movies all the time, so taken as a given, I guess it's not so far fetched.

Given the right material, Karloff can be genuinely good as an actor, and this is probably one of his finer efforts. His character Valdar/Von Strendler is genuinely pro German all the way in his portrayal. At least I didn't get the impression that he would turn into a double agent the way Lindsay did in her characterization.

This is one of the better 'B' programmers you're likely to come across, and works well as an espionage thriller. With slight alterations, it could have been a World War II story if not for it's year of release, and on that score, winds up being unusually prophetic after history had dealt it's cards.

The Spy Who Nursed Me

[wes-connors · 4/10 · 2 December 2007]

Sent off on a World War I spy mission, Bruce Lester (as Frank Bennett) is shot down during an aerial attack; he survives, and believes he has fallen in love with nurse Margaret Lindsay (as Helene Von Lorbeer), after she nurses him back to health. Mr. Lester doesn't know it, but Ms. Lindsay is really German spy Frances Hautry; coincidently, her mission involves moving into Lester's own home, where she makes contact with newly-hired family servant Boris Karloff (as Valdar). Mr. Karloff is really German spy Karl Schiller. With Lester away, Karloff and Lindsay will play; their game is delivering Allied secrets to the Germans.

But, wait, Karloff appears to also be working for "British Intelligence"; their mission is to eliminate mysterious German spy "Strengler".

Now, hold on, Lindsay reveals she's also a double agent, when Lester returns home and recognizes her as Nurse Helene...

Third time around for "Three Faces East" (1926, 1930). Fairly predictable, if you think about it -- but Karloff and Lindsay are fun to watch.

We planed a surprise attack, Yet we were the one's that were surprised

[sol-kay · 7/10 · 11 December 2004]

***Spoilers*** 1940 movie made during the hight of the German Blitz on England in WWII about a German Zappaline air attack on London in 1917 during WWI with a complicated story about British and German spies and double as well as even triple agents in both England and Germany.

Boris Karloff is at his creepiest best as the German spy or British double agent Valdar, you never really know until the end of the movie who he really is. On the bloody Western Front in France every British military operation is met by the German Army with the British being soundly beaten. Someone is supplying the Germans with secret British military information which has them get the jump on the British forces before they even start their attack.

The British have their top spy Williams inside Germany and in an attempt to get him out of the country plan to pick him up behind the German lines with an airplane flown by Let. Frank Bennett, Bruce Lester. As usual the Germans get the information about Bennetts's flight and shoot him down over the battlefield. In the field hospital the badly wounder Bennett is cared for by a British volunteer nurse Helene, Margaret Lindsey, whom Bennett falls in love with. It later turns that Helene is really the German spy Helene Von Lorbeer who back in Berlin is sent to England to work for British Cabinate Minister Arthur Bennett, Holmes Herbert, who's also Frank's father.

The movie "British Intellengence" goes on with Helene getting in touch with her fellow German spies in England including Valdar who also works for the Bennett household. You never really know who Helene and Valdar work for, the British or the Germans or both, until almost the very end which leaves you up in the air to whats happening in the film. There's also this top German spy Strendler who is giving the British all this trouble on their efforts in breaking the up and stalling the German advance on the Western Front. You also don't know until the very end of the movie just who he really is even though it's not really that hard to figure out.

The movie takes a surprise turn later on when Let. Bennett who was recovered from his wounds and with his air unit sent back to England. Coming home Let. Bennett finds Helene at his father estate and recognizes her as the nurse who treated him back in France and who he fell in love with. It's then when we get an idea just who Helene is and for what country, Germany or England, she's spying for.

The ending is very contrived with the German Master Spy Strendler, guess who, setting up the entire British Cabinate to be blown up at the Bennett Estate, where their to meet, with a bomb that he planted there. Strendler is unexpectedly foiled by the Germans themselves by them staging a zeppelin attack on the city of London killing Strendler and his fellow German spies in the process: Poetic Justic I presume?

Whats so interesting about the movie is how it treats the Germans at a time when those who made the movie were either at war with Germany or very sympathetic to the country that was fighting the Germans at that time in 1940 the United Kingdom. There was one scene in the movie that really hit me when Valdar tells Helene about how the German Army murdered his wife and child and left him for dead with two bullets in his back which in fact was a lie on his part. Helene very convincingly defended the Germans by telling him that in the heat of war both the Germans like the British commit unspeakable acts in order to win.

This statement by Helen came across as both honest and eye opening, totally minus of wartime propaganda, for a war movie that was made during the time when the country or countries who made it, the US & UK, were either at war or about to go to war against the country of the person, Helene, who made that very profound and intelligent statement.

I thought it was too slow

[dbborroughs · 4/10 · 19 January 2008]

A creaky WW2 film about German spies in England. Boris Karloff plays a German agent trying to put the kibosh on the Allied war plans. Most of the movie is centered in the home a minister where Karloff is working as an butler.

The source is a stage play and it shows. Despite several locations this could very easily have played on the stage.

I found the movie slow, and at only 60 minutes thats not something you really want to hear. It opens with a long prologue going back to the First World War which is interesting up to a point, but it goes on way too long.Its also so mechanical you've picked the next three plot points as each event happens.

Personally I'm mixed. It sits squarely on the fence between something that I can say see and something I can say avoid. I'm inclined to say if you see it on TV fine (Turner Classics is running it in the next couple of months) I don't know if you'd want to actually buy it. Not that you won't like it, you just may not watch it more than once.

Two Stars- Its up to you...

PS My Dad really liked it so what the hell do I know.

BORIS KARLOFF IS A GERMAN SPY !

[whpratt1 · 10/10 · 3 May 2003]

During World War l, Helene von Lorbeer(Margaret Lindsay) is a nurse in a French hospital assumes the role of a German spy and goes to England. She is assigned to obtain important papers concerning a secret British offensive. She is invited into the household of Arthur Bennett(Holmes Herbert), an important British war official. She meets Valdar (Boris Karloff), the butler, who is a German spy also and that she will be receiving instructions from him. Valdar suspects she is a British agent and brings her into the basement of the home to normally do what Karloff does in all his films. Karloff has a horrible bayonet wound on his face and walks with a limp and his facial expressions put chills up and down your spine! Karloff enjoyed making this type of film, where he could break away from the Frankenstein Horror image. Karloff was really at his best when acting on the legit theatre stage, like "Arsenic and Old Lace", "Peter Pan" with Jean Arthur 1950, "The Lark" with Julie Harris his last Broadway stage production. He also appeared in "The Linden Tree" and "The Shop at Sly Corner".

Better than expected

[scottfbayes · 7/10 · 19 January 2007]

I downloaded this from the Internet Archive:Feature Films collection, expecting a pretty bad movie, but was pleasantly surprised. No major bloopers that I noticed, a semi-believable plot, lots of fun twists and turns, and reasonable acting. It packed a lot into its 60 minutes, and Karloff was excellent. And the final 45 seconds provided a bit of unintended humour (as seen through 21st century eyes, at least) with its little homily on war.

O! the eschewing of prolixity, a lost art. For some reason I am required to be more long- winded in my comment than I initially intended. This padding will undoubtedly serve to prevent my comment from seeing the light of day, but know this: For every short and short- lived comment callously destroyed by the forces of prolixity, three more shall rise in its place! We shall never give in!

C'mon guys, what's the point of requiring 10 lines, when I only have 7 lines of commentary to make? Reminds me of the old days of Usenet, when people had to pad postings to get them to pass muster. You usually end up optimizing for something unintended when you enforce artificial rules like this one.

A War of Necessity

[rmax304823 · 4/10 · 23 December 2008]

All the combatants seemed to sidle into the First World War crabwise, without really intending to do much other than preserve national pride, and then, before you know it, kaboom. Barbara Tuchman, who wrote the prize-winning history "Guns of August," used to tell the story of a lecture she gave at a famous Midwestern university and being congratulated by a student for making the casus belli so clear. "I'd always wondered why they called the other one World War Two," said the student.

Not that "British Intelligence" is about World War I anyway. It's set in 1917 but it was shot in 1940 as a spy mystery that shifted back and forth from Berlin to London. Except for some differences in uniforms and the use of Zeppelins instead of Heinkels, it's really World War II the movie is dealing with. The movie's speeches, which I won't bother repeating, practically hit us over the head with the real conflict. And here the Americans enter the war without having to be bombed into doing so.

Boris Karloff is an obsequious French butler in a classy London house where all the British high staff seem to meet and trade secrets in front of open windows and whatnot. Karloff had his hands on some good roles in his time -- "Frankenstein", "The Body Snatchers" -- but this role demonstrates his weaknesses. He overplays it outrageously, fawning and bowing, and saying things like, "Here, let me help you with your coat." And his French accent is execrable. "Zeppelin" comes out "Zepp-lawn." Better he shouldn't have tried at all.

The other performances are decent enough and there's nothing awry with the direction but it's rather a long, slow slog through hidden identities and intrigues. On the whole it's like watching a very old screenplay that has been dug up out of a shoe box on the back shelf and refurbished by Second Spin Ltd. It's not insulting -- it's not that bad -- it's just rather routine and dull.