David Harding, Counterspy

"David Harding, Counterspy" is a low-budgeter almost exclusively populated by indistinguishable men in suits, mouthing enough hard-boiled dialogue ("when somebody throws surprises my way, I throw punches") to fry an egg factory. Ironically, the only source of life comes from the single female cast member, the beautiful (if little-known) Audrey Long, as a woman caught between dual loyalties. Apparently this was based on a popular at the time radio series: on radio obviously you only need dialogue to get the story across, but on the screen you need to visualize it as well, and this film lacks the means to do that. *1/2 out of 4.

Based on the radio series Counterspy. the title role of David Harding is played by Howard St. John as the rather stern Allen Dulles like section chief of an unnamed Intelligence agency. But the real action is handled here by Willard Parker who gets called back from the Pacific War to takeover the operation of a plant in California that is manufacturing torpedoes for the Pacific War.

As it turns out the widow of the guy that was in the job before Parker is Audrey Long who was going out with Parker while he was in Annapolis. After a while the two take up where they left off before. Still Parker's job is to find a nest of fifth columnist spies who've been getting information out of the plant.

I was pleasantly surprised in that I thought while hardly a great film, it was not as bad as I thought it would be. I was expecting a Cold War flag waver and it was not all that. The characters are not paste board figures, they do have some depth to them.

Take particular note of Raymond Greenleaf's portrayal of the plant doctor. Talk about hidden depth.

Nothing great here, but David Harding Counterspy might be worth a look.

I am not a fan of Ray Nazarro, well known for his numerous B and C Westerns. In DAVID HARDING, COUNTERSPY he tackles an altogether diverse genre: film noir with a needless voiceover intro and occasional commentary that kind of brings it into the realm of docunoir.

At any rate, it probes a sensitive area at the time: the Cold War that already prompted Senator McCarthy and the House Unamerican Activities Committee (HUAC) to launch an anti-communist witch hunt in Hollywood and society at large, leading to an abiding atmosphere of distrust and suspicion incisively depicted in the film.

In addition, it shows how bugging and camera technology evolved rapidly and in multifaceted ways (interestingly, Harding discloses the presence of 55 cameras constantly filming the workers of a weapon-manufacturing plant). But for the fact that, as I write, the events in DAVID HARDING occurred 75 years ago, counterespionage police investigation was laying the foundations for the investigative procedures we see today in CSI and other police-related TV programs.

I would not write home about the screenplay by Clint Johnston, but perhaps the abovementioned needless voiceover was studio-imposed. Other than that, the script presents some interesting twists and turns, and an unusual love relationship whereby the best friend (Willard Parker) of a just deceased colleague promptly tells the just widowed beautiful Audrey Long that he loves her.

I dock a star for Parker failing to impress as the lead. In addition to little expression, let alone nuance, in his craggy mug, he keeps getting beaten up and very nearly smoked to death (now, that amounts to an amateurish miscalculation by the supposedly sharp and professional foreign agents, as they had disposed of Long's hubby in precisely the same manner and repeating it would surely attract unwanted attention).

Long and Greenleaf, as the unsuspected spy ring head, provide the eye-catching performances, Howard St John the anchor to all the action as the intelligent, calm and on the ball chief counterspy.

Highly competent B&W cinematography by George Diskant.

At 71 minutes long, DAVD is definitely no waste of time and a bonus to any film noir lover. 7/10.

Chief of counterintelligence Howard St. John calls in broadcaster Alex Gerry. Gerry has been complaining on his radio that America has been letting nuclear secrets get through to foreign nations; none is specified, but he mentions a mustache. St. John tells him about a wartime case in which he sent Navy Lt. Commander Willard Parker to a plant manufacturing submarine torpedoes after his friend, who had been doing the work previously, had been killed under suspicious circumstances.

It's derived from COUNTERSPY, a long-running (1942-1957) radio drama devised by Phillips Lord, who also produced the better known GANGBUSTERS. This has everything a lover of cheap drama could wish for : spies, people with machine guns shooting up airports, romance in the person of Audrey Long, and a Murphy Bed. Obviously shot cheaply, it's typical of the second features that Columbia was turning out in the dying days of B series. Look for John Dehner in a small role.

Although Taking Place During the "Cold War", this Surprisingly Rich Low-Budget Espionage Film is Shown as Flash-Backs to the Underground of WWII Spy Infiltration at a Defense Plant.

It is Based on a Long Running (1942-57) Radio Program of the Same Name.

The Fast-Paced, Multi-Layered Story is Packed to the Brim with Military Types and a Government "Secret" Organization (Pre CIA/NSA).

With Agents, Double-Crosses and a Tight, Suspenseful Script that is Intriguing.

It Rises Above its Budget Limitations with some Sharp Characterizations, Gritty Violence, and Cracker-Jack ( 71 min) Pacing.

There's Real Suspense, Dodging Chases, Great Action (for type), some Romance, Betrayals, and Dry-Humor that Propels this Little-Seen Cheapo Above the Average Bottom of the Bill Filler.

All the Actors Give it a Go with Believable Situations Always On the Edge of Discovery or Confrontations.

There are Some Really-Cool, Almost Sci-Fi Gadgets and Stunts that are Amazing for its Limitations.

In 1950 the "Spy-Film" was just Getting Started and This One can Side with its Bigger-Budgeted Brethren in the Newly Emerging Genre and is Well...

Worth a Watch.