Hitchcoc Hitchcock is the master, no matter what subject matter. He did have a propensity for spy stuff, however. In this one, the U.S. has not entered the war. Joel McRae is a foreign correspondent who gets in thick with a man who is a pacifist. He is led into a web of intrigue with murders and murder coverups. Identity and mistaken identity. Love for real and love for convenience. It also has the great Hitchcock method of using famous landmarks for things to happen. In this case it is Westminster Abby. It's a buffet of wonderful visual delights, including the incredible umbrella scene. Don't miss this.

elvircorhodzic FOREIGN CORRESPONDENT is a film in which he weaved extremely clever propaganda. The director is certainly in favor walked fact that some former things by accident, but markedly coincide. Hitch is merry and made a decent war spy thriller. Probability and randomness are so neglected that the torques acting illogically. However, uncertainty is at his level. The film is a great and exciting if I squinted on one eye. The film is certainly a fiction and does not call into question the neutrality of the United States, but the interaction between the Allies and the Nazis determined its role.„Keep those Lights burning?!"The journalist, diplomat and politician keywords. Hitch, deliberately avoiding the word spy or a traitor to the very end of the film. Of course, the director once again soften the effect of that profession in the phenomenal scene to bring the plane down. The theory is clear. Americans are all that is needed in Europe during the war. It is not logical and is a little bit exaggerated. Americans just waiting for the right real news. I will be more specific information .... or cry. It is not logical and is a little bit exaggerated. Americans just waiting for the right real news. I will be more specific information .... or cry. It is interesting the way to join two journalists. Perhaps there is distrust, but cooperation is key of counteraction.The acting is good. I would point out a very good performance of George Sanders. The suspense and excitement in Hitchcock's films simply attract. Humor is so genuine and healthy. I must admit that from the director did not expect the final dose of nationalism. However, this is probably the essence and purpose.

lasttimeisaw FOREIGN CORRESPONDENT is the second film of Hitchcock's one-two punch in 1940, yet its legacy has been mostly eclipsed by the more widely-beloved REBECCA (1940, 8/10), which usurped a BEST PICTURE win in the Oscar games, while the former is also a BEST PICTURE nominee with a total 6 nominations. In retrospect, FOREIGN CORRESPONDENT may be a lesser compelling romance due to the insipid chemistry from its two leads, but no doubt it is a top-notch spy thriller from the master of suspense, with a trio of upstaging supporting players (Bassermann, Marshall and Sanders), plus its FX are rather cutting-edge at its time, a distinguishing precursor of the similar themed NORTH BY NORTHWEST (1959, 8/10), which would arrive nearly 2 decades later. Johnny Jones (McCrea), under the pen name Huntley Haverstock, is appointed as the new foreign correspondent by New York Globe, arrives in Netherland to get a clear picture of the impending war. Soon he witnesses a staged (fake) assassination of Dutch diplomat Van Meer (Bassermann), whereas the real Van Meer is drugged and kidnapped out of the country. Jones becomes the man who knows too much and is chased by unnamed killers, escaped to London with Carol (Day) to her father Stephen Fisher (Marshall), a leader of a peace party, the romance is budding but viewers will realise Mr. Fisher is a fellow conspirator of the kidnap. In no time Jones falls upon as a target of a murdering plan, this is where Hitchcock is at his best, however illogical it seems in the script, an unbeknownst Jones visits the Westminster Cathedral tower with his "bodyguard" Rowley (Gwenn), designated by Fisher to dispatch Jones, Hitchcock ingeniously plays with audience's anticipation of the approaching danger, generates a frisson of thrill combined with priceless gallows humour although we all evidently aware that Jone's narrow escape is the default upshot.German stage actor Albert Bassermann is honoured with an Oscar nomination as the upstanding diplomat under interrogation for war information, incredibly is that he doesn't speak English, all his lines are uttered with phonetic assist, and the final outcome is a heart- rending one, boosted by his self-revealing contempt to the war through the bird-feeding people metaphor, which first time it is casually articulated like an evasive strategy to Jones' slack pestering, but the second time, under the severe mental torture, its becomes a meaningful and encouraging enlightenment. Herbert Marshall is on an equal footing in his two-faced suaveness, his aloofness contends to be a requisite for a spy, he knows his undoing is forthcoming, even at his remorseful eleventh hour, he maintains his dignity and doesn't descend to desperate malignancy. George Sanders, who also stars in REBECCA, brings his usual conceited mien to the role of Scott ffolliott (the capital letter in his surname was dropped in memory of an executed ancestor), another report who is considerably more sharp-witted in the line of work. All above only makes both McCrea and Day too broad and bland in their gauche leading parts. A revelational discovery is near the ending, Hitchcock and his crew mounts a totally engaging scenario with plane crush-landing on the sea surface, in light of its time of making, its persistent impact remains surprisingly unabated. So in a nutshell, FOREIGN CORRESPONDENT may not be the crème de la crème among Hitcock's oeuvre, certainly it doesn't tarnish his reputation either, and fairly speaking, its spy tall-tale is far more engrossing than most of the products in this long-running genre still flourishing today

PimpinAinttEasy It is a bit overlong and Joel Mcrea is annoying while Laraine Day is unremarkable. But the thrills in this film are truly out of the world. The stark and realistic scenes at the windmill and the top of the tower without any background music might have inspired the long heist scene in Rififfi. I was thinking about RIFIFFI when i watched those scenes. The plain wreck scenes in the sea were pretty scary - the sea almost seemed like a monster. There were some extraordinary images in the film - one of the gigantic ship (at the beginning of the film) and the one of the almost monstrous sea.Albert Bassermann's performance as Van Meer needs special mention. the scene where he is tortured and interrogated seems to have inspired Brian De Palma in Sisters.Some of the twists could have been done away with. The film needed better editing. And the ending is pure propaganda. I wonder if that was the way Hitch felt about the war or if it was the studio.