PrairieCal I'm surprised this film hasn't received a higher rating. Maybe old folks need to think back to when they were kids and rode their bikes downtown on Saturday afternoon to watch a string of second run "B" pictures at the cheap theater.Or perhaps some caught this in later decades when these old films were shown on TV late night on weekends. In any event, enjoy this for what it is. Don't expect Shakespeare and you won't be disappointed. As a typical WWII film this one will keep you entertained. As a bonus, Nina Foch has never looked lovelier.My son and I have never called these WWII Spy Thrillers, Propaganda Films, or whatever. To us they've always been and always will be, "Nazi Scum" Movies. We've amassed a large collection. This is one of them ... and one of our favorites. It reeks of the surrealistic cheapie back lot films that seem both unreal and real simultaneously.

dougdoepke Another wartime programmer that Hollywood was turning out by the hundreds. The only unusual angle is the mixing of espionage with psychic dreams, apparently an everyday occurrence in this scripted world. Except for the bland male lead (Wright), it's an excellent cast of stereotypes, including professional Hollywood Nazi, Ivan Triesault who made a career of these cruel types. There's also the incredibly smooth Otto Kruger playing a good guy, for once, but then who could do oily villains better than his smiling cobra. And what guy wouldn't like to partner-up with newcomer Nina Foch in an extended game of mixed doubles. With his penchant for cool blondes, I wonder why Hitchcock didn't enlist her obvious talents at some point. Anyway, cult director Boetticher helms in efficient style, the fog machine gets overtime, and a number of practiced players do their thing. (In passing, note how slickly Boetticher stages the shootout near movie's end—a foreshadowing of the classics to come. Note too, that Malcolm represents a generic federal agency and not the FBI by name. That way possible legal problems are avoided.) Nothing exceptional here, just a demonstration of how the studio assembly line turned out an entertaining product even under straitened wartime conditions.

bkoganbing We've all got to start somewhere, it was in films like Escape In The Fog that somebody like Budd Boetticher could learn his trade before turning out good films. In fact the film was dated before it even hit the movie going public on June 25, 1945.The war on Europe was over for almost two months, of course not even Harry Cohn could control the events of history. So I'm wondering why even back then the public didn't question why a Nazi spy ring was helping out the Japanese. Another very bad historical inaccuracy was that the FBI had nothing to do with the Pacific or Asian theater. The cloak and dagger stuff was the territory of the OSS in that part of the world.When you're an FBI man like William Wright it sure good to have a psychic girl friend like Nina Foch. He's about to go on a mission to the Orient to deliver the names of key underground leaders to start a general uprising in China against the Japanese occupation. Germans who've been bugging Otto Kruger's house learn of this and the whole movie is spent with these guys who've already lost the war trying to help their allies. Who, by the way, they refer to as 'Japs'. When Foch is sideswiped by a speeding car and knocked unconscious she dreams about Wright's danger and sees what is about to happen to him on the Golden Gate Bridge. She goes there and foils the plot. All the stuff you'd expect from a nice noir film is there, the foggy atmosphere of San Francisco, the dimly lit sets, Budd Boetticher tried his best as did the cast. But they just weren't convincing, probably because they didn't believe this claptrap themselves.It's possible, but not likely that Nina Foch's dream and its psychic consequences might have been more developed and the developments were left on the cutting room floor. I think it was just a lousy screenplay. And Budd and Harry Cohn at Columbia Pictures had the fast moving events of history going against them here.

bmacv In 1945, Dutch-born actress Nina Foch had the good fortune to star in a pair of economical, satisfying thrillers. She was a damsel in distress in Joseph H. Lewis' My Name Is Julia Ross, an updated Gothic set in England. In Budd (then ‘Oscar') Boettischer's wartime espionage drama Escape In The Fog, she's a dame in distress in the city by the bay.It opens in a nightmare she's having. Walking one fog-bound night on the Golden Gate Bridge, she sees three men piling out of a taxi trying to kill a fourth. She screams – and the screams bring to her room in Ye Rustic Dell Inn other guests running to her aid. One of them is the intended victim in her dream (William Wright), whom she's never before laid eyes on. They hit it off, though, and he persuades her to join him for a few days in San Francisco. Their fling seems destined to be a short one, however, as Wright's a government agent who receives orders from his operator Otto Kruger to courier top-secret documents to Hong Kong. But he's waylaid by agents of the Axis powers, led by Konstantin Shayne. Luckily, Foch believes that her nightmare was in fact a premonition, and rushes off to the Golden Gate Bridge, this time for real....It's not an especially memorable movie, but it's clever and atmospheric. If its ingenuity at times seems a bit stretched, it's stretched in the (pop)corny way of Saturday matinee serials of the era. There's of course the obligatory dose of wartime rhetoric, with much derision of `Japs,' while the Germans all speak in the most guttural tones they can reach without doing irreparable damage to the larynxes. Still, Boettischer keeps those fog machines churning, and there's plenty of skullduggery in Chinatown at Midnight. Not a bad way to while away an hour-plus.