It's a shame someone would equate this film to a propaganda reel. Unnecessary jingoism was part of American culture at the time. Only three brief instances of possible propaganda exist here -- 1) when our protagonist says he wouldn't want to join the New World Order because he doesn't like their tactics. Saying that is a bad thing? I guess it was not fair since we didn't get a Nazi response to how their way of life really is. 2) the quote over the intercom "You know what to do, boys" when the air squadron heads out for a combat mission. Unnecessary cheerleading in a movie, yes, but part of American film culture at the time. 3) at the end, when our antagonist becomes an American citizen, he says "We know our way of life is best, and we're fighting to keep it that way." Again, should the movie have been fair to Nazis by giving their point of view on their way of life? Seriously?!? Sometimes we know wrong is wrong and there doesn't need to be a defense of it. Therefore, not propaganda.Lastly, this movie does NOT defend the right to be an illegal alien. Nothing is illegal about our antagonist. He's a legal alien but not a citizen. Illegal status never once enters the conversation.Overall, an okay, swift moving crime/war drama that isn't very memorable but definitely not a terrible 76 minutes.

Richard Arlen generally took on films which had some thought involved over action. Here, the thought is missing.It is a McCarthy era style film about espionage, with Arlen as a "brainy" sort who gets into a lot more fisticuffs than one would imagine. We're given the FBI characters who really don't fit into any mold-they're not McCarthy, they're not sharpshooters, they're not any of the usual cinema stereotypes, and that may be the only thing going for this very generic spy piece, since the plot never even begins to make any sense.We have a "cute kid" of course, since a Hollywood male hero has to be a family man or former family man. The kid does an excellent job, too, but is really just a gimmick in this formula film.

This film was made by Pine-Thomas Productions (distributed by Paramount)--a tiny company with only a few credits to its name before SUBMARINE ALERT. Not surprisingly, it's a low budget film with the services of two leads whose careers had seen better days. Richard Arlen had been a big name in the silent and early days of talkies (having, for example, co-starred in the first Best Picture Oscar-winner, WINGS). But, by 1943, he was pretty much doing journeyman roles--taking what was available at a fraction of his earlier salaries. As for Wendy Barrie, while never a big star, she had been in a decent number of films (most notably, THE HOUND OF THE BASKERVILLES and a recurring role in the Saint series). Here, they both give their best efforts and the results are certainly nothing they should have been ashamed of--even with such a tiny studio.The film is about a plot by the combined Nazi and Japanese espionage agencies to sink American shipping. These dirt-bags recruit Arlen because they assume (incorrectly) that because he recently lost his job due to security concerns over his citizenship status, that he'd betray his adopted country. Naturally, though, he, Berrie and the FBI work together to destroy these Axis creeps--huzzah! Overall, the story is interesting, the action generally good (except for the toy sub that was blown up in the end) and it did its job in convincing the folks at home that the enemy was evil but easily defeated. Worth a peek.

Bergstrom, a radio engineer expert goes missing during WW II. Deerhold, a resident- alien radio engineer (Richard Arlen, Santa Fe Trail) helps Ann Patterson (Wendy Barrie, Love on a Bet, the "Falcon" movies) when her purse gets snatched. The viewer sees the FBI trying to track down where the enemy radio transmissions are originating, but so far, no luck. Arlen and Barrie get caught up in the search for the people behind the radio transmissions before more US ships get sunk. Maxwell Shane had written many of these military action films in the 1940s. It's all wrapped up neatly in the last minute of the film, and then the usual affirmation of US loyalty by Arlen to the viewing public. Some interesting scenery of downtown LA. Also some choppy edits, and long blackout pauses between scenes. This is one of the films in the "50 Action Classics" from Treeline/TCM. Some big Hollywood names might have added some zing.