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Tag Archives: John Monks Jr.

13 Rue Madeleine (Jan. 15, 1947)

Henry Hathaway’s 13 Rue Madeleine is a spiritual sequel to his espionage docudrama thriller The House on 92nd Street (1945). The address this time around refers not to the headquarters of a Nazi spy ring in New York City, but to Gestapo headquarters in Le Havre, France, during World War II.

Like The House on 92nd Street, 13 Rue Madeleine owes a debt to the style and presentation of Louis de Rochemont’s “March of Time” newsreels. (De Rochemont served as producer of both films.) I enjoyed The House on 92nd Street, but judged purely as a cinematic experience, 13 Rue Madeleine is the superior film.

A lot of that is due to the film’s star. James Cagney is dynamic and arresting in every role I’ve ever seen him play, and I would pay to watch a film in which all he did was order and consume room service by himself.

In this film, Cagney plays Robert Emmett “Bob” Sharkey, an instructor of potential agents in a U.S. agency called “O77.” (The organization is clearly based on the O.S.S., but the name was changed because of certain plot elements that we’ll get to in a moment.)

Early in the film, Sharkey’s boss, Charles Gibson (Walter Abel), informs him that one of his students is a German mole named Wilhelm Kuncel. The mole turns out to be one of his most promising pupils, William H. “Bill” O’Connell (Richard Conte). O’Connell looks and acts as American as apple pie, and during training grew especially close to blond, fresh-faced Jeff Lassiter (Frank Latimore), who never suspected a thing.

Gibson orders Sharkey to pass O’Connell and to not let on what he knows, in order to feed false information to the Germans through O’Connell. Alas, O’Connell proves to be even cannier than Sharkey’s bosses could have predicted, and this decision leads to a series of tragedies.

Conte isn’t an actor I could have picked out of a lineup a year ago, but after seeing him now in several roles, I think he’s a tremendous performer, and I look forward to a lifetime of watching his films. It doesn’t matter for his role as a double agent in 13 Rue Madeleine that he doesn’t look the slightest bit “German.” In a wordless scene in a transport plane over Europe, as O’Connell and Lassiter are preparing to jump, O’Connell suddenly sees what the straight-arrow Lassiter can’t hide, and the look on his face is chilling.

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The House on 92nd Street (Sept. 10, 1945)

House92ndStWhen The House on 92nd Street was released on DVD in 2005, it was as part of the “Fox Film Noir” collection. This is misleading, since it’s more of a docudrama than it is a noir. It’s a historically important film, however, since it was one of the first to feature location shooting for nearly all the exteriors, and one of the first to skillfully blend fact with fiction while presenting itself as essentially factual. (Charles G. Booth won an Academy Award for best original story for his work on this film.)

The House on 92nd Street stars William Eythe as Bill Dietrich, a second-generation German-American who becomes a double agent for the F.B.I., Lloyd Nolan as his contact in the Bureau, Agent George A. Briggs, and Signe Hasso as the leader of the spy ring, Elsa Gebhardt. The film is a fictionalized account of the F.B.I.’s 1941 operation against the Nazi spy ring led by Fritz Joubert Duquesne. It was one of the largest counterspy operations in U.S. history, and led to the conviction of 33 people. In reality, however, none of them were involved in anything quite as grand as the secrets of the atomic bomb, which is the MacGuffin in The House on 92nd Street. And the real Dietrich was not the all-American boy portrayed by Eythe. He actually was a German-born man named William G. Sebold who served in the German army during World War I but became a naturalized American citizen in 1936. Presumably the war was still too fresh in the minds of the American viewing public for them to accept a German as the hero of a picture.

This film also shows the beginnings of J. Edgar Hoover’s massive publicity campaign for the F.B.I., which he disguised as a simple display of information. In reality, of course, Hoover carefully controlled the information that the public saw about the F.B.I., twisting and distorting as necessary. A good example of this information control is a scene early in the film, in which we see an indoor enclosure the size of an airplane hangar, filled with filing cabinets. The booming voice of the narrator (Reed Hadley) explains that this is the F.B.I.’s collection of 100 million sets of fingerprints, a number that seems unlikely, given that the population of the United States was fewer than 140 million people in 1945. Were they counting each finger? The message, of course, is that there is no hiding from the F.B.I. If you commit a federal crime or spy for another nation, they will find you. (This was also the message of the radio show This Is Your F.B.I., which began broadcasting dramatizations of real federal cases on American Broadcasting Company stations in the spring of 1945, all with the cooperation of Hoover, who called it “the finest dramatic program on the air,” and “our show.”)

The House on 92nd Street was directed by Henry Hathaway, but much of its style can be attributed to producer Louis de Rochemont, who created the “March of Time” newsreel series. When he lacked the footage he wanted, de Rochemont would stage clever recreations, but his newsreels were presented as wholly factual. It’s important to keep in mind that American audiences were less savvy about media trickery in 1945. After all, it had only been six years since people tuned into Orson Welles’s War of the Worlds broadcast midway through the program and thought Martians were vaporizing people in New Jersey.

The House on 92nd Street begins with a compilation of actual footage of people entering and exiting the German embassy, which is interesting. Of course, the characters in this film watch a great deal of surveillance footage. Some of it is real, some is not. It’s not that audiences in 1945 didn’t realize that the film was a blending of reenactments and actual footage, it’s the overall message they were taking away from the film that was perhaps not completely accurate. For instance, in Thomas M. Pryor’s September 27, 1945 review of the film in the New York Times, he wrote the following:

Since the picture, produced by Twentieth Century-Fox with full cooperation from the F.B.I., was completed some months ago, the secret of the atomic bomb has been revealed. Now the picture carries a simple and restrained foreword explaining that the “Process 97” which the Nazi agents are attempting to steal was in reality a part of the atomic bomb formula. It is to the producers’ everlasting credit that this information is not sensationalized in the film.

In reality, however, there is no evidence that there was a single “missing piece” of the atomic bomb process that spies were in danger of transmitting back to Nazi Germany. And of course, film by its very nature presents a sensationalized picture of reality.

Also, a big deal is made at the beginning of the picture that every person playing an F.B.I. agent, aside from the principals, is an actual F.B.I. agent. This, however, does not make what is depicted any more or less truthful than if they were played by actors, but it seems to.

The House on 92nd Street is not a bad picture by any stretch. Taken at face value, it’s tense and exciting. And director Hathaway, when not constrained by the documentary-style approach of de Rochemont, creates some great sequences, such as when Dietrich gets himself arrested just to get in touch with Briggs at the F.B.I., or the meeting between Dietrich and his co-conspirators at a waterfront dive. And the final shootout, which involves tear gas grenades and a surprising disguise, is fantastic. If you’re looking for a film that uses the framework of a docudrama to present a tense film noir, however, you’d be better off watching Anthony Mann’s excellent T-Men (1947).