Producer: Raymond Griffith. Executive producer: Darryl F. Zanuck.
Copyright 2 August 1940 by 20th Century-Fox Film Corp. New York opening at the Roxy: 2 August 1940. U.S. release: 2 August 1940. 77 minutes.
Alternative title: I MARRIED A NAZI.
SYNOPSIS: Is he is, or is he isn't a Nazi? Answers in the course of this movie: No. Yes. Maybe. Yes.
COMMENT: Pre-wartime propaganda pap, on a strictly soap opera level, of interest perhaps to students of sociology and the cinema, but otherwise an unparalleled bore, despite an interesting cast line-up.
Joan Bennett looks fairly attractive, though Peverell Marley's photography is way below his usual standard (a very slow worker, he was unable to adjust well to the fast demands of "B"-picture shooting).
Anna Sten has curiosity appeal. Otto Kruger attempts a character role, hidden behind a white beard and speaking with a German accent (!), with surprising success. Lloyd Nolan is cheerily capable, while Francis Lederer does as well as can be expected with the wishy-washy part of Miss Bennett's husband.
However, the film is not rounded out with as many character players as we would like (where's Martin Kosleck?) and Irving Pichel's direction is ruthlessly routine. Still, production credits are quite fair by "B"-picture standards.
Alternative title: I MARRIED A NAZI.
SYNOPSIS: Is he is, or is he isn't a Nazi? Answers in the course of this movie: No. Yes. Maybe. Yes.
COMMENT: Pre-wartime propaganda pap, on a strictly soap opera level, of interest perhaps to students of sociology and the cinema, but otherwise an unparalleled bore, despite an interesting cast line-up.
Joan Bennett looks fairly attractive, though Peverell Marley's photography is way below his usual standard (a very slow worker, he was unable to adjust well to the fast demands of "B"-picture shooting).
Anna Sten has curiosity appeal. Otto Kruger attempts a character role, hidden behind a white beard and speaking with a German accent (!), with surprising success. Lloyd Nolan is cheerily capable, while Francis Lederer does as well as can be expected with the wishy-washy part of Miss Bennett's husband.
However, the film is not rounded out with as many character players as we would like (where's Martin Kosleck?) and Irving Pichel's direction is ruthlessly routine. Still, production credits are quite fair by "B"-picture standards.