"The House on 92nd Street" -- a paean to the FBI's anti-Nazi effort during the war -- begat a host of similarly structured films. There is some kind of MacGuffin, often involving microfilm, winding up "in the wrong hands" and being smuggled out of the country. There is the FBI at the center of the story, successfully unraveling the mystery. The FBI uses awesomely modern technology, such as spy cameras, one-way mirrors, hidden microphones, and files containing thousands of fingerprints. The FBI are business-like but they're good Joes too, wisecracking with one another without ever forgetting their mission. The enemy are cold-blooded, gruff, don't say hello to one another, never smile except wryly, sacrifice one of their own at the drop of a solecism, and are clever in the way that sewer rats are clever. Narration invariably by the stentorian baritone of Reed Hadley.

Reed Hadley narrates this one too, coming several years after "The House on 92nd Street." At Lakeview Laboratory, somebody seems to be smuggling out confidential formulae about rockets, trajectories, nuclear physics, the secret ingredients of Coca-Cola, and such to a spy -- Russians, this time around, not Nazis -- who then PAINTS THEM into a landscape of San Francisco and ships them to another spy in London. And so on and so forth.

Dennis O'Keefe is the agent in charge of the investigation. Louis Hayward is the Scotland Yard detective who uncovers the plot and comes to the states to work with the FBI. They both had leads in minor pictures but they were steady and reliable actors. Onslow Stevens plays a character whose name is Igor Braun. I leave it to you to guess whether this is one of the good guys or the bad guys. That's -- Igor -- Braun. Raymond Burr is a plump, bearded heavy. He doesn't make any jokes but neither do any of the other rats. He's satisfactorily sadistic. Tamara Shayne, as an innocent landlady, gives the best performance in the film. Art Baker, as head of the laboratory, has a voice made for radio.

It's all terribly dated and formulaic but I kind of enjoyed it. Gordon Douglas keeps things moving along, nobody torpedoes the movie, the acting is okay, and the mystery is rather interesting, if implausible.

Nice, minor job.

1948's Walk a Crooked Mile bursts out of the stale post-war semi-documentary format to become an absorbing espionage drama, thanks to: *Carefully rationed, no-nonsense writing (screenplay by George Bruce; story by longtime veteran Bertram Milhauser (over 60 film treatments in 50 years!); *Sharp and spare direction (by the versatile Gordon Douglas - said to be the only person to direct both Elvis and Sinatra). Filming took less than a month; * Watchful camera (cinematography by George Robinson),and enchanting location work in the beautiful San Francisco of nearly three-quarters of a century ago; * Unobtrusive acting by leads Dennis O'Keefe as an FBI agent and Louis Heyward as his Scotland Yard counterpart; * Enough angles and twists to keep you guessing to the very last frame; *And shrewd bit-casting (with an unexpected throat-catching moment lasting less than 20 seconds that you will remember for a long time , from veteran ...and uncredited... actress Tamara Shane - Moma Yoelson in The Jolson Story (1946) and Jolson Sings Again (1949) and Mrs Akim Tamiroff in real life -- as The Landlady).

All this cinematic professionalism produces so much edge and vitality that a virtually unheralded, almost forgotten 1948 Cold War Feds 'n Reds potboiler is transformed into a surprisingly compelling action movie, complete with smart detective work, a rats' nest of sneering villains (look for a hirsute, almost svelte and quite nasty Raymond Burr),unexpectedly tense car chases and really noisy Thompson sub-machine guns.

The crafty script doesn't pull at its leash, begging for attention, but instead remains in the background, a steadily ticking clock mechanism -- or perhaps a time bomb -- pushing the nail-biting action forward, with twists and turns at every corner.

Using the documentary style format complete with the stentorian baritone of Reed Hadley, indispensable voice-of-God in the "official" crime dramas of the time, this Columbia Pictures black-and-white feature zeroes in on one of the most disquieting aspects of the Cold War: theft of nuclear secrets.

Atomic plants worry about two kinds of leak: radiation and security. In the fictional Southern California research lab of Walk A Crooked Mile, it's a security leak that has the FBI's Geiger Counters ticking away madly. Vital secrets are being stolen by an unnamed foreign power. (Soviet Russia is never named, but there are plenty of "comrades" and "dictatorship of the proletariat" speeches bandied around by un-American conspirators as to leave no question just which Pravda-subscribing Great Bear is after our Atomic Honey. Besides, villain Raymond Burr is wearing a goatee just like Lenin's!)

Because of the international ramifications of the thievery, the FBI (Dennis O'Keefe) and Scotland Yard (Louis Hayward) join forces to try and catch the red crooks.

Unique among FBI films of the period, the "Chief" is never seen or heard: J. Edgar Hoover is never even mentioned! Indeed, the producer, Edward Small, had had no cooperation from the agency, and Director Hoover had even written a letter to the New York Times complaining that the movie had not been sanctioned by the Bureau. (Reportedly, Walk a Crooked Mile had been originally titled FBI vs Scotland Yard but this was changed at Mr. Hoover's request.)

Despite this official hands-off policy, there is an air of authenticity about the proceedings as the sleuths employ the latest technology in an attempt to uncover the spy ring. The technology may seem to be on a kids' chemistry set level to our sophisticated eyes three-quarters of a century later, but the agents from the FBI and Scotland Yard use their brains as well - and this display of sharp wits is a nice change from the robotic by-the-numbers G-Man tales of the time. And lots of unexpected curves along this crooked mile keep you guessing for every minute of a wild ride.

A good spy thriller, with astute detective work neatly balanced by the occasional bout of violent action.

WALK A CROOKED MILE is the sort of brisk, documentary style espionage yarn so often made during the '40s, using narration to tell the story of two espionage agents (DENNIS O'KEEFE and LOUIS HAYWARD) assigned to track down whomever is responsible for leaking top secret information developed at a nuclear plant in California.

Most of the action takes place in San Francisco, where O'Keefe and Hayward discover that an artist (ONSLOW STEVENS) is putting coded information beneath his paintings when he receives it from a spy working for the government agency. The story traces how the spy ring operates and it is these details that give the film added interest before the spies are caught. All of the methods must seem dated by today's standards of F.B.I. work, but the manner of presentation is gripping and the clever cat-and-mouse game that is played between the agents and the spies is credible and fascinating.

It's smoothly directed by Gordon Douglas at a fast clip. RAYMOND BURR has his usual "bad guy" role as one of he spies, and LOUISE ALLBRITTON, CARL ESMOND, ART BAKER and CHARLES EVANS all make interesting suspects in the mystery behind the identity of the key traitor.

Well worth viewing.