Cloak and Dagger

Rating:
Summary: Early Bond precursor
Review: Although eventually slowed down by the romantic subplot, this starkly lit, violent spy movie makes Gary Cooper into a quasi James Bond during its first half. Cooper plays a physicist recruited by the OSS to interview an escaped Nazi scientist in Switzerland. Bond fans will recognize a scene in the Swiss airport that was used nearly shot-for-shot in Dr. No many years later. Cooper seduces a beautiful German spy and in one bar sequence orders, of course, a very dry martini. The movie slows down a bit after he is smuggled into Italy, meeting Lili Palmer (in her first major role), but the occasional presence of Alan Alda's dad Robert, in a rare major role, livens things up, as does the confrontation between Cooper and Marc Lawrence. There is also a terrific gun battle at the end.

The most interesting things about this movie are the two violent fist-fight sequences - wonderfully staged and exceptionally violent for that era - and the paranoid atmosphere of constant danger. As mentioned by others, however, the ending looks way too much like Casablanca.

It is a little weird how Cooper goes from mild-mannered scientist to dashing playboy to martial arts expert all in the space of about two weeks (including cross-Atlantic travel), but, hey ya never know. Great Max Steiner score (which is sort of redundant).

Rating:
Summary: Early Bond precursor
Review: Although eventually slowed down by the romantic subplot, this starkly lit, violent spy movie makes Gary Cooper into a quasi James Bond during its first half. Cooper plays a physicist recruited by the OSS to interview an escaped Nazi scientist in Switzerland. Bond fans will recognize a scene in the Swiss airport that was used nearly shot-for-shot in Dr. No many years later. Cooper seduces a beautiful German spy and in one bar sequence orders, of course, a very dry martini. The movie slows down a bit after he is smuggled into Italy, meeting Lili Palmer (in her first major role), but the occasional presence of Alan Alda's dad Robert, in a rare major role, livens things up, as does the confrontation between Cooper and Marc Lawrence. There is also a terrific gun battle at the end.

The most interesting things about this movie are the two violent fist-fight sequences - wonderfully staged and exceptionally violent for that era - and the paranoid atmosphere of constant danger. As mentioned by others, however, the ending looks way too much like Casablanca.

It is a little weird how Cooper goes from mild-mannered scientist to dashing playboy to martial arts expert all in the space of about two weeks (including cross-Atlantic travel), but, hey ya never know. Great Max Steiner score (which is sort of redundant).

Rating:
Summary: A Lesser Lang
Review: Despite a fine cast and first-rate Warner Bros. production values, "Cloak and Dagger" (1946) remains one of director Fritz Lang's lesser efforts. Set during the final months of World War II, this espionage thriller begins promisingly with Gary Cooper as an American physicist sent on a mission to rescue a scientist from his Nazi captors, who have succeeded in developing an atomic bomb. Unfortunately, this intriguing premise runs out of steam at the halfway mark -- weakened by a lengthy romantic subplot. "Cloak and Dagger" would have been more effective if the studio had retained Lang's original ending in which Cooper's character discovers the abandoned location where the Nazis made their atomic bombs. Instead, the film is saddled with a predictable, "Casablanca"-inspired finale. Though "Cloak and Dagger" inevitably falls flat, there are some memorable sequences in the classic Lang tradition.

Rating:
Summary: A Lesser Lang
Review: Despite a fine cast and first-rate Warner Bros. production values, "Cloak and Dagger" (1946) remains one of director Fritz Lang's lesser efforts. Set during the final months of World War II, this espionage thriller begins promisingly with Gary Cooper as an American physicist sent on a mission to rescue a scientist from his Nazi captors, who have succeeded in developing an atomic bomb. Unfortunately, this intriguing premise runs out of steam at the halfway mark -- weakened by a lengthy romantic subplot. "Cloak and Dagger" would have been more effective if the studio had retained Lang's original ending in which Cooper's character discovers the abandoned location where the Nazis made their atomic bombs. Instead, the film is saddled with a predictable, "Casablanca"-inspired finale. Though "Cloak and Dagger" inevitably falls flat, there are some memorable sequences in the classic Lang tradition.

Rating:
Summary: The parts are greater than the whole.
Review: Fritz Lang was one of the world's directing treasures, yet too few people know his name. With credits such as M, Metropolis, The Woman in the Window and The Big Heat (as well as many brilliant lesser-known, often German-language films), he helped to *invent* many genre conventions that are now cliches. He is also one of two filmmakers who really influenced Hitchcock in concrete ways (Val Lewton being the other).

In many ways Cloak and Dagger is ahead of its time, and in others it is disappointingly dated. It offers several great scenes but loses its way several times as well. It starts out with some overly pretentious scenes as American nuclear scientist Gary Cooper is approached to help the Allies rescue a brilliant scientist held behind enemy lines. Then there are a couple of nice fights and some good direction and rising suspense as the mission gets underway. Then, it becomes a story of Gary Cooper meeting and falling in love with Lilli Palmer, a devoted but despondent member of the Italian underground fighting in WW2. But this is not really the story that the early portions had been building up to, so while the middle section is not bad, it is slower and seems out-of-place. Then when we return to the action of the Allied team rescuing a scientist held by fascists (none of which we see, hurting the film a lot), the impressive final shootout lacks the impact it should have had. And the movie takes a quick, easy way out of the situation, nullifying much of the suspense that had again been achieved and leaving a sour taste.

So despite all its small triumphs, Cloak and Dagger has to be classified a near- miss.

P.S. The best scene involves a struggle between Cooper and someone who has found him out. He has to keep the man from shouting for help to the policeman right outside. And then a little girl's ball bounces down the steps toward them, and she runs to retrieve it. How will our hero get out of this quickly and quietly enough to neither alert the cop nor make the girl scream...? It's admittedly great, edge-of-your- seat stuff, to rival any one scene in Hitch's canon.

See also: Hitchcock's early work; O.S.S.; Guns of Navarone; Across the Pacific; Night Train to Munich