Hotel Reserve could had been a great wartime thriller under the hands of a better director with a more polished script.Set in 1938, James Mason is Peter Vadassy who staying at the Hotel Reserve in the south of France. He is a medical student, teaches languages to make ends meet and likes taking photographs as a hobby.He was born in Austria but has resided in France and hopes to be naturalised soon as a French citizen. He plans to be working as a doctor soon.Vadassy is suddenly arrested and accused of being a German spy. The photos he sent to be developed had photos of military installations. Luckily for Vadassy the authorities know he is innocent and his camera was mistakenly switched. They plan to use him as a decoy to flush out the real spy that is staying at the hotel. Vadassy has no option but to go along with the plan and turns detective when he returns to the hotel.It is nice to see a breezy performance from Mason who so often used to appear as brooding. However the film becomes too plodding as it really was a propaganda B movie made in 1944. He needed to be paired up with a strong female character that really does not happen here.

A pretty feeble attempt at a cross between the innocent man wrongly suspected and a conventional 'one-of-these-ten-people-is-a-spy/killer-both' genres that fails to work as either. James Mason rarely turned in even a mediocre performance and it's worth sitting through this just for him. Herbert Lom and Patricia Medina are totally mis-matched and not for one second believable as a honeymoon couple. For a leading actress in the Berlin Theatre Lucie Mannheim is almost solid mahogany and is perhaps of more interest as the real life wife of Marius Goring, likewise we care more about Patricia Medina as the real life wife of Joseph Cotton, himself no stranger to this genre (Journey Into Fear, The Third Man). What we're left with is a sort of French Without Tears without the laughs - or the writing chops of Terry Rattigan.

A small number of people are resident at the "Hotel Reserve" which is meant to be in France but is clearly on a studio set. It is up to one of the residents, Peter Vadassy (James Mason) to find out which guest is a Nazi spy. The cast are split into 2 groups. First of all, there are the good actors who portray interesting characters - Emil Schimler (Frederick Valk) - bad/good guy with a secret?, the female hotel owner - bad/good girl?, Andrew Roux (Herbert Lom) - bad/innocent guy? and the main police inspector - a good guy that knows more than the audience/James Mason. Set against this are the rest of the cast who are all buffoons, especially the Major (Anthony Shaw) and the fisherman (David Ward) who play their roles for laughs and who are never funny. There is also a pointless role for a French policeman who follows Vadassey around and he plays for humour. He is also not funny...............a mention must also go to Lucie Mannheim as the romantic interest for James Mason. She is dreadful and it is criminal that she is second-billed in this film. Neither her air-time nor her acting skills merit this lofty position. James Mason is OK and the film is a time-passer. Nothing more.

I only rated this 5/10 and would have expected it to be a 'B' feature before the big film, had I been in a cinema in 1944.As other reviewers have pointed out it looks like it was steered by a committee of directors to wit, Lance Comfort, Mutz Greenbaum (as Max Greene) and Victor Hanbury who fell over each other and got into a terrible mess.My first criticism is the film was obviously studio bound and had a claustrophobic feel to it throughout, especially for a film which purported to be set in the south of France.I know it was war time but Cornwall in the summer would have made a good substitute location.In that same year 1944 "Love Story" was made on location in Cornwall and London which added to the reality of the story.Other reviewers mention Hitchcock who was partial to actual exterior locations when the film demanded it.I suppose the producers were constrained in wartime by budgets.My second criticism was the unconvincing sets, never more noticeable than when James Mason climbs a ladder to a rooftop and you see what purports to be an iron ladder bend and sway - one for continuity.I do like a bit of the authentic language spoken, in this case French which was noticeable by its absence.A few "Messeur", "Mesdames" and "Merci" thrown in just will not do.In this regard the scriptwriters should have made a bigger part for Patricia Medina whose father was Spanish, hence her surname and as a linguist she could also speak French & Italian.I liked the eye candy of Lucy Mannheim (James Mason's German sounding girlfriend) but as stated by others she was not given enough of the script to establish her character.With a few deft opening scenes in "The 39 Steps" (1935) Hitchcock makes Lucy Mannheim's character much more memorable even after we have seen the charms of Madeleine Carroll.My third main criticism is that for a thriller and "who-done-it" it was curiously lacking tension and excitement, which brings me back to my review title.It certainly did not lack a quality cast James Mason, Herbert Lom, Raymond Lovell, Lucy Mannheim etc. so I can only blame the scriptwriters and directors for its flat outcome.