As other reviewers have noted, the veiled references to "Casablanca" are evident to the discerning movie fan. Michael Lanyard (Warren William) and his pal Johnny Booth (Sheldon Leonard) convinced me of that when they both uttered at the same time - "The last time I saw Paris..." Leonard's character had me going for a while, I thought he might have been one of the villains of the piece, he had that reserved, suspicious look going for him most of the time.Besides that, Johnny Booth might have had a little bit of clairvoyance going for him as well. When Donald Jameson (Robert Stanford) showed up with his 'fiance' (Ann Savage), he introduced her to Lanyard and Booth as Valerie, but immediately after, Booth called her Miss King - how did he know that? The story has a cool espionage/intrigue angle going for it with a Nazi plot to take over the Suez Canal. The Lone Wolf Lanyard is recruited by the bad guys as a distraction, but even if you're following the story closely it gets a bit muddled. Never fear though, The Lone Wolf is on top of things, even while Booth's cohorts Cezanne (Jay Novello) and The Whistler (Sig Arno) are summarily dispatched.As usual, Eric Blore provides the well timed comic relief in the story as Lanyard's assistant Jameson. I don't know if it was ever revealed in a prior film, but at least I learned in this one that his first name was Llewelyn. Unfortunately, Jameson went missing for a good part of the story because he was simply tied up. Still and all, he came through splendidly whenever it was required, but I did take exception with one of his boss's duties - why couldn't Lanyard put on his own shoes?

Passport to Suez (1943) ** 1/2 (out of 4)Warren William is back as Michael Lanyard, aka The Lone Wolf, in his final entry in the series. This time out he's taking on a group of Nazis who decide to send him on a wild goose chase while they take care of the business they're really wanting to do and that's disable the Suez Canal. PASSPORT TO SUEZ isn't the best film in the Columbia series but I think there are enough good moments to where fans should remain entertained from start to finish. As with the previous entries, the main reason to watch the film is for the performance of William who was clearly in top form by this time in the series. As usual he has that cool, laid back style that works perfectly well for the material and he has no trouble bringing everything to life. Sheldon Leonard is pretty good in his part of the nightclub owner (a clear rip of CASABLANCA) and Eric Blore is back as the valet. We even have Lloyd Bridges showing up in the series yet again and playing yet another different character. The direction for the most part is pretty good as we get some nice style along the way and visually the film is quite good as well.

The other user comment misses the point of this film entirely; Passport to Suez is not supposed to be a serious historical examination of what might have happened had the Nazis gained control of the Suez Canal, but a spy/mystery/adventure with some comedy laced in.Warren William's final turn as Michael Lanyard is a real winner, thanks to a complex and witty script and the direction of the great Andre De Toth. The Lone Wolf films are always entertaining (with the exception of The Lone Wolf Spy Hunt, which was nearly ruined by Ida Lupino) but Passport to Suez has a classier feel than any of its predecessors. The camera-work in the film is moody and atmospheric, William's first meeting with Mr. X is very memorable, and one murder scene that takes place on an Alexandrian street is positively stunning, something Hitchcock needn't have been ashamed of. The mystery is intricate and well-meshed, and the script features a memorable array of colorful characters--Gavin Muir's friendly and urbane Nazi operative, Sheldon Leonard's slick nightclub owner, Anne Savage's femme fatale, Sig Arno's eccentric stool pigeon, Frederic Worlock's uptight British intelligence officer, Jay Novello's sleazy spy, and especially Lou Merrill's phlegmatic but deadly double-agent.William himself handles the atypical seriousness of the plot perfectly and reins in his usual enjoyable hamminess, while Eric Blore provides impeccable comedy relief(his reaction to the mysterious phone caller at the beginning of the picture is hilarious--I feel that way with certain telemarketers).The propaganda in the film is mercifully minuscule; it has none of the protracted speeches that popped up in the earlier Lone Wolf film Counter-Espionage. Aside from Warren's remark to Muir about the "New European Order having no room for sentiment," propaganda is bypassed for sheer entertainment.A worthy finale to William's illustrious stint as the Lone Wolf.

The importance of the Suez Canal in World War II cannot be overstated, except in this movie where it seems grossly understated. Correspondent/spy Valerie Blore (as played by Ann Savage) correctly appraised the situation when she says: "Whoever wins Africa wins the war." The Suez Canal was pivotal to the shipping of petroleum from the oil rich nations to Germany, which required fuel both for production and for keeping its armor moving and its airplanes flying. Control of North Africa meant control of the Suez. Even more so, it would solidify the grandiose plan of physically linking Japan with Germany, a plan not likely to be effectuated. Still, this movie loosely addresses the problem of Axis control if certain secret information is leaked to the enemy.As a film, if never quite stresses danger, with most of the action related to incidental elements: the engagement of Donald Jameson (Robert Stanford) to Valerie King, the bar owned by Johnny Booth (Sheldon Leonard), and the silly activities of the three counted-spies, whose movie names just happen to be Whistler, Rembrandt, and Cezanne. Most of the time the acting seems preoccupied with something other than what is happening. All in all, it seems a typical Lone Wolf movie where the danger of a nazi submarine lurking to get secret information is only slightly more important than the flowers in the hotel room. A major saving grace for this film is the acting of Eric Blore (as Jameson) who putters around as a sort of mini Winston Churchill.