Hitchcock's eerie visual gimmicks are not often as catchy as in the early going here: an assassin makes his getaway by slicing a path through a field of umbrellas, and then the hero figures out his hiding place in a windmill conspicuously spinning opposite to its surrounding mills. Mostly polite, cultivated espioniage, with some lively outbursts of anti-Nazi fervor. Joel McCrea, Herbert Marshall, Laraine Day. (1940) — Duncan Shepherd
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