An effective piece of agitprop war melodrama that in the early goings is so obviously and openly spelling out its friendship to Nazi conversion story that it can feel a bit easy and mechanical, but also considering when this was made and the clear message being put forth, fair enough. The real kicker here is the eventual switch to shocking expressionist horror/paranoia which is then followed by some cold, blunt noir revenge that I was not at all expecting and would recommend experiencing as blind as possible. Everything from the play chase onward is about as hauntingly beautiful and bleak a depiction of being trapped and constricted by forces outside your control as I've seen (checks cinematographer credit, ahh there it is), and with such impeccable control of space and light that it more than makes up for the perhaps too simple set-up to get there.

Full discussion on ep 251 of my podcast SLEAZOIDS.