7/10
A Triumph of Style Over Substance
4 September 2022
There of so many echoes of The Third Man in this film, but the essential plot lacks narrative cohesion--the dazzling atmospherics of decadent Europe after WWII, like Reed's film, are rich in dark shadows, fogs and dripping walls, dizzying stairwells and dismal foggy streets--but the plot, unfortunately, is a little foggy to begin with, and although the viewer slowly comes some comprehension concerning Widmark's task to finesse the escape of an anti-communist leader from behind the iron curtain, there are numerous lures that sidetrack him, most of them of the female. Widmark's performance is characteristically compelling, and there are some new faces on the screen deservedly demanding attention. Another positive aspect of this studio film is that most of the faces are new ones to American viewers, and Widmark's relationships to each are complex although, like the plot, sometimes confusing.

If the viewer doesn't expect constant clarity and a direct Indiana Jones narrative, this film is fascinating for it's location shooting, evoking a more direct sense of hopelessness than even The Spy Who Came in From The Cold, and it's all highlighted by a persuasive music score (one of the first powerful backups by John Williams), as well as the adventurous attempts to escape the constant threat of permanent imprisonment--the sympathetic hero combines with a growing sense of suspense can add up to an entertaining two hours: I found the atmospherics even more fascinating that the labyrinthine plot.
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