The manhunt for a fugitive Nazi, resettled as a college professor in Small Town, U.S.A., yields easily to Orson Welles's penchant for intimating a monstrous unwholesomeness afoot everywhere. At the outset, Edward G-Man Robinson flares with patriotism, rapping his pipe on the desktop until it cracks in half; afterwards he muffles his feelings nicely, while the ever-present pipe, wrapped in a Band-aid, continues to affirm his obsessiveness. Welles himself, moving like Karloff's monster, enacts the Nazi "obscenity" with his inhuman gaze distracted to some spot far beyond the material world. And Loretta Young, lured into the obscenity's home and bed, flutters with naive optimism until, at last, the horrible truth possesses her and transforms her into a somnambulistic angel of justice, sailing through the night in a white negligee, toward a frenzied climax in the clock tower. (1946) — Duncan Shepherd
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