This is a pretty ambitious noir film that dared to tell its story without a single line of dialogue. It's plot is a bit hokey: a nuclear scientist who had agreed to pass on information to a fiendish band of communists (are there any other kind?) has second thoughts and must allude himself from their grasp. The film combines a wonderful mix of claustrophobic scenes of tension where our (anti)hero holes himself up in a small room while the phone rings menacingly (conjuring memories of Milland's brush with fear and paranoia in THE LOST WEEKEND), and terrific cat-and-mouse chase scenes that are truly Hitchcockian, including a climax on the top of the Empire State Building (how come Hitch never came up with that one?). Ray Milland does a terrific job as usual: one can almost hear his thoughts. And the cinematography is some of the most innovative you'll ever see outside an Orson Welles film. Don't get caught up in the idea that this is a 'gimmick' film. This is an innovative film, much in the same vein as some of the most inventive shows in THE TWILIGHT ZONE series. Try to open your mind to a fresh perspective and you won't be disappointed.
