Based on Geoffrey Household's hit novel Rogue Male, Man Hunt itself became a big hit on the eve of World War II. It's still a grabber because Lang, abetted by top Fox cameraman Arthur Miller, art directors Richard Day and Wiard B. Ihnen, and composer Alfred Newman, created a brilliantly atmospheric and entirely studio-bound world--just like the old days at Ufa, but with superior production resources. The film is Germanic to the max, with imagery of fierce angularity and chiaroscuro, literally underground confrontations, and a scenario rife with doppelgängers and secret selves. Gestapo pursuer-in-chief George Sanders rates a bravura introduction, posed ramrod straight in a white uniform in a white room with a white mountain vista outside ... and yes, he has a monocle (like Lang's). Man Hunt marked Lang's initial association with two future partners: screenwriter Dudley Nichols, who would script the director's American masterpiece Scarlet Street, and actress Joan Bennett, who starred in three more Lang pictures. Her character--a little English streetwalker, not that the Production Code allowed her to be acknowledged as such--is key to the movie's potent emotional wallop (she anticipates the Gloria Grahame role in The Big Heat). As Lang told an interviewer three decades later, she "had all my heart." Which also cuts two ways. --Richard T. Jameson