L'Espion noir

During the World War, a German U-boat comes up on the coast of Scotland. At this point Captain Hardt leaves the vessel and travels to a small village to meet his contact. He plans to use the treacherous assistance of bitter Royal Navy Lieutenant Ashington to guide the Germans to the spot of the British fleet. However not all is fair in love and war and Hardt soon finds his operation at risk of compromise.

Of course, much more famous for The Red Shoes and A Matter of Life and Death, this film from Powell and Pressburger should not be over looked. While it is of course propaganda (released as it was in 1939), it is not a flag waving, lets all kill the Nazi's under the bed style film. Instead it stands up in it's own right as an exciting little thriller that makes some good points about the nature of war. The plot is quite straightforward at first but has a few nice twists that I won't spoil, and is generally enjoyable.

The strength of the film for me was the focus on a German Officer and not having him as a stereotypical evil tyrant. While the film doesn't let us wonder who the good guys and the bad guys are, it does at least allow Hardt to be more of a full person and the film better as a result. The ironies of the final action of the film is clear and is even more of a striking comment on war when you look at the `blue on blue' stats for Gulf War 2. Veidt does well in the lead as Hardt and is partly responsible for keeping him a bad guy without over egging the cake. Shaw and Hobson are good but perhaps a little too much of the `Heroic Brits' about them.

Overall this is a good wartime thriller but the unusual tack that it comes at, plus a darker and slightly subversive tone about it helps it stand out, if not from the rest of P&P's work, then certainly from the vast majority of wartime propaganda thrillers made in Britain around the second world war.

This is an entertaining, well-made spy adventure set during World War I. Although made 60 years ago, the film has a sophisticated approach to the relationship between its three main characters. In particular, the natural attraction between the parts played by Conrad Veidt and Valerie Hobson is portrayed believably. Many of the supporting characters are also interesting; look out for Hay Petrie as the Scottish engineer aboard a ferry and an early appearance by Bernard Miles as a hotel desk clerk. Unlike the majority of British movies of this period, the film doesn't stereotype or make fun of its working-class characters.

The story has several good twists and an ironic climax. There are also some improbable coincidences, but no more than the typical James Bond movie.

Unlike Bond, however, "The Spy in Black" adopts a quite dark tone in its final 20 minutes. There is an almost tragic dignity and regret in the final scenes.

Director Michael Powell composes some interestingly-framed shots that make good use of Vincent Korda's sets. One of his favourite devices is to set a key character in sharp focus in the background while lesser parts stand or move slightly out-of-focus in the foreground. The effect is often quite striking.

This film marks Powell's first collaboration with the Hungarian writer Emeric Pressburger. The maturity of the romance between the leads and the snappiness of the dialogue are probably attributable to Pressburger's European upbringing.

Despite its age, "The Spy in Black" is well worth seeing just for the simple pleasures of a well-made entertainment executed with a little more care and imagination than usual.

An unusual spy thriller in that the main characters are all German spies or collaborators. THE SPY IN BLACK is set in Orkney in 1917, where a German U-boat captain has been sent to infiltrate the locals in respect of a planned attack. He soon develops a relationship with a school teacher who's also working for the Germans, and the stage is set for the forthcoming assault on the British fleet nearby.

THE SPY IN BLACK offers far more than your usual war-time thriller, and it has a very interesting plot to boot. Michael Powell handles the direction superbly, crafting a fine-looking and atmospheric little thriller on what is obviously a low budget, and the small scale somehow adds to the effect. There are plenty of twists and turns in the short running time, many of which you won't see coming, alongside a ton of drama and incident.

Headlining the cast is German actor Conrad Veidt, still packing a strong presence some 20 years after his role in THE CABINET OF DR CALIGARI. The supporting performers are equally effective, especially Sebastian Shaw as the turned British officer Ashington and Valerie Hobson as the spy-turned-schoolmistress. Altogether this is a highly effective thriller and one of the best of the decade.

Interesting in that it has a German lead, played by a German actor, who you actually sympathise with. Very much not a jingoistic war film, and not what you would expect. Veidt stands out in this as a an actor, his experience really shines through and he comes across as a more realistic, where some of the British actor comes across as 2D. Nice character study of a professional officer who sticks by his code, despite the circumstances. Atmospheric and well made, solid British war spy flick.

I first saw this movie on Derby Day 1939 at the then Capitol Cinema in Epsom Surrey UK when I had intended to watch the world famous horse race to be run that day on the nearby Epsom Downs. However, the weather was so wet and windy that I decided to go to a cinema instead. Having just watched the film on television I find that it thrilled me just as much as an octogenarian as it did when I was a teenager in 1939. In my view this is one of the finest of the 1930s British films. The fine quality of the direction and the talent of the principal actors and supporting cast make this a memorable piece of fiction which accurately reflects the narrow attitudes to manners that prevailed in remote parts of Scotland during the time of the first world war.